Arts of Asia

Arts of Asia The world’s leading fine magazine of Asian art and antiques since 1970. www.artsofasia.com

Published in Hong Kong and distributed worldwide, Arts of Asia has been delighting collectors and connoisseurs of Asian art for over fifty years. Every issue is an authoritative source of information on the many and varied aspects of the arts of East Asia, the Indian Subcontinent and Southeast Asia and provides invaluable insights into the international Asian art market, analyzing activities at major auctions in London, New York, Hong Kong, Beijing and other centres to reveal the latest price and collecting trends. Arts of Asia is unique in its presentation and is itself a collector's item, with the quality of its content matched by the excellence of its design and production. Perfect-bound with a strong laminated cover, it is renowned for its superb full-colour reproductions. Arts of Asia is a magazine that you will enjoy at your leisure, and that you will keep to read and refer to, again and again.

By the 13th century, Japanese metalworking encompassed samurai swords, sword fittings and armour, temple bells and kettl...
11/08/2026

By the 13th century, Japanese metalworking encompassed samurai swords, sword fittings and armour, temple bells and kettles and small ornaments for the aristocracy. After the Meiji government prohibited sword wearing in 1876, large-scale trade with the West and international trade and art exhibitions opened an export market for Japanese metalwork. From the 1950s onward, designs generally shifted away from the Meiji period’s pictorial, highly detailed realism toward abstract or impressionistic forms; most living artists draw inspiration from nature.

Living National Treasure Hoseki Okuyama is especially drawn to imagery suggested by particular trees. His vase Larch was based on larches growing in the garden of the Prince Hotel in Hakone. The silver vase was hammered from a flat sheet of metal; the tree forms were cut out and inlaid using uchikomi-zogan. Solder and heat were applied before the softened metals were hammered into the vase.

Read the full article, “Japanese Metal Art: An Enduring Tradition” by Shirley Z. Johnson, in the May–June 2017 issue of Arts of Asia.
Pictured: Larch by Living National Treasure Hoseki Okuyama, 23.8 × 21.6 cm, hammered silver body with trees of shakudo and shibuichi inlaid by uchikomi-zogan technique, 2003. Photo: Robert Harrell.

Established in 1861, the National Gallery of Victoria is Australia’s oldest public gallery and the first Australian muse...
31/07/2026

Established in 1861, the National Gallery of Victoria is Australia’s oldest public gallery and the first Australian museum to collect Asian art. The Felton Bequest enabled major overseas acquisitions. In 1938, H.W. Kent became the gallery’s first Honorary Curator of Oriental Art; his collecting strategy was based on aesthetic criteria, aiming to be selective rather than comprehensive in scope.

Acquired through the Felton Bequest in 1926, this Tang dynasty (circa 700–750) Guardian spirit was one of five funerary figures acquired through Captain W. F. Collins. Its human face and composite animal attributes were believed to ward off evil spirits and guard the tomb—while also, ironically, keeping the deceased person from getting out of the tomb to make trouble for the living.

Read the full article, “Search for Excellence: Asian Art at the National Gallery of Victoria” by Mae Anna Pang, in the November–December 2003 issue of Arts of Asia.

Pictured: Guardian spirit, North China, Henan or Shaanxi province, Tang dynasty, circa 700–750, earthenware, coloured pigments, “three-colour” lead glaze, height 75 cm, Felton Bequest, 1926, National Gallery of Victoria, 2784-D3.

During the latter half of the 19th century, American engagement with Asia expanded significantly, shaped by the opening ...
27/07/2026

During the latter half of the 19th century, American engagement with Asia expanded significantly, shaped by the opening of Japan in 1853, the influence of Christian missionary networks and a growing spiritual attraction to Buddhism. In New York and Brooklyn, civic-minded individuals and artists developed profound, independent interests in Asian aesthetics and spirituality, fostering early collections that would ultimately form the foundation of major institutional holdings.

Giving tangible form to this cross-cultural encounter is the artistic output of the American artist and master designer of stained glass, John La Farge (1835–1910). Long before his celebrated 1886 journey to Japan with Henry Adams, La Farge had been actively collecting Japanese prints and integrating Asian visual culture into his practice. His 1879 oil painting, Flowers in Japanese Tray on Mahogany Table, currently housed at the Brooklyn Museum, reflects a sophisticated synthesis of influences. The still life centres on a red peony (“Japonica”) floating in a Japanese bowl in the foreground, its form reflected in the shiny surface of the mahogany table; on the tray behind are further flowers identified with Japanese flower culture—a white peony, jasmine and day lily. This careful arrangement demonstrates how American artists were not merely adopting exotic motifs but rather integrating Japanese aesthetic principles and material objects into the intimate spaces of Western domestic interiors.

Read the full article, “Brooklyn and Asia: 19th Century American Journeys, Early Collectors of Asian Art” by Amy G. Poster, in the November–December 2004 issue of Arts of Asia.

Pictured: Flowers in Japanese Tray on Mahogany Table, John La Farge (1835–1910), 1879. Oil on panel, 26.3 x 45.8 cm. Brooklyn Museum, Bequest of Christina C. Burnett, great-niece of the artist, 2001.47.1

The diverse island and peninsular societies of Southeast Asia have long been a vibrant crossroads of cultural exchange, ...
20/07/2026

The diverse island and peninsular societies of Southeast Asia have long been a vibrant crossroads of cultural exchange, where indigenous Austronesian traditions intersected with Indian, Islamic and Chinese influences. This dynamic history is vividly reflected in the region’s extraordinary gold jewellery, which served not merely as adornment but as profound indicators of social status, ancestral and ritual power, and complex trade networks.

One particularly revealing example of this cosmopolitan synthesis is a rare 19th century gold mesh bracelet from Aceh, currently featured in the Edmond Chin Collection at the Asian Civilisations Museum. Likely a royal ornament, this remarkable piece is unique for its incorporation of green and blue enamel on gold — a technique rarely found elsewhere in Southeast Asia and indicative of cultural contact with Mughal India via trading networks. Furthermore, the bracelet demonstrates the intricate fine gold granulation and filigree work for which Acehnese smiths were highly renowned, illustrating how local artisans masterfully integrated foreign techniques into their distinctive aesthetic vocabulary.

Read the full article, “The Edmond Chin Collection of Southeast Asian Gold” by Tan Boon Hui, in the November–December 2002 issue of Arts of Asia.

Pictured: Mesh bracelet with coloured enamels, gold with red staining, green and blue enamels and semi-precious stones, Aceh, Indonesia, 19th century. Diameter 7 cm, length 8 cm.

During the Qing dynasty (1644–1911), a young woman’s expertise with a needle was considered not only a vital domestic sk...
15/07/2026

During the Qing dynasty (1644–1911), a young woman’s expertise with a needle was considered not only a vital domestic skill but a direct reflection of her inner soul. As needle cases transitioned into expensive, finely crafted ornaments, they became objects of significant cultural and aesthetic value. Among these, the silver needle case emerged as a highly sought-after personal adornment, particularly among affluent women and noble wives who sought luxury alternatives to traditional carved wood, bamboo or reed containers.

These intricate silver repoussé needle cases perfectly capture the refined craftsmanship of the era. These hollow, cylindrical or vase-shaped forms were designed to be worn suspended from the button of a woman’s dress. Their surfaces reflect a sophisticated synthesis of utility and auspicious symbolism, frequently featuring chased, engraved or repoussé ornamentation of dragons, plum blossoms and chrysanthemums. Notably, these cases feature chains threaded through an outer sheath to protect the needles, often adorned with dangling charms like bells, tassels, and small fruits, or customised with beads of agate coral and malachite. Together, these elements demonstrate how a simple sewing implement was elevated into a complex talismanic accessory that beautifully conveyed status, fertility and longevity.

Read the full article, “Chinese Silver Needle Cases” by Margaret Duda, in the July–August 2000 issue of Arts of Asia at artsofasia.com/back-issues.

Pictured: Repousse vase needle cases
a) 5.9 cm long by 4.3 cm wide carp with lotus blossom on one side, peacock with chrysanthemum on the other
b) 5.7 cm long by 3.4 cm high deer and cypress tree on one side, crane and plum blossom on the other
c) 6.1 cm high by 3.2 cm wide eight Taoist symbols with the rising wave pattern going around the vase
d) 5.6 cm high by 3.5 cm wide citron and plum blossom on one side, two magpies and plum blossom on the other

Traditional Tibetan medicine, known as Sowa Rigpa (the “science” or “art” of healing), represents a profound synthesis o...
10/07/2026

Traditional Tibetan medicine, known as Sowa Rigpa (the “science” or “art” of healing), represents a profound synthesis of Buddhist philosophy, empirical medical knowledge, and artistic expression. Central to this holistic system is the foundational idea of the three bodily forces or humours (nyepa)—wind, bile and phlegm—and their dynamic relationship with the surrounding environment.

Emblematic of this intricate intersection between medical science and visual culture is The Blue Beryl, an influential 17th century work that laid out the precepts of Sowa Rigpa. One particularly revealing example from this tradition is “The Tree of the Body in Health and Illness”, a vibrant thangka painting on cloth and brocade. Employing botanical metaphors to illustrate physiological states, the tree’s roots, trunks, branches, leaves and flowers were used to facilitate memorisation by medical students and were displayed in the Chagpori Medical College in Lhasa on special occasions. The left trunk portrays a robust constitution, whilst the right trunk systematically maps the complex pathways of disease. Crowning the composition, two flowers blooming extravagantly at the very top of the tree refer to health and longevity — the ultimate expression of humours held in perfect balance. This painting demonstrates how Tibetan artisans adeptly translated abstract physiological and spiritual concepts into precise, didactic visual forms.

Read the full article, “Bodies in Balance: The Art of Tibetan Medicine” by Howard S. Kaplan, in the March–April 2014 issue of Arts of Asia.

Pictured: The Tree of the Body in Health and Illness Lhasa, 17th century Pigment on cloth and brocade, 68.6 x 78.7 cm Pritzker Collection

The University of Pennsylvania Museum of Archaeology and Anthropology features an extraordinary architectural juxtaposit...
03/07/2026

The University of Pennsylvania Museum of Archaeology and Anthropology features an extraordinary architectural juxtaposition: a rotunda 27 metres in diameter, inspired by ancient Roman construction and crowned by a glass lantern that covers a tile dome 27 metres above, which was completed in 1916. Though originally planned as one of three rotundas—none of which was intended to house Chinese art—the upheaval of World War I and the resulting opportunities to acquire art from an unstable China transformed this single surviving dome into an unparalleled setting for some of the most significant Chinese Buddhist sculptures to enter Western collections during the early twentieth century. This unique space has left a lasting impression on generations of visitors.

One particularly revealing example of the Rotunda’s treasures is an earthenware luohan from Yizhou, Hebei province, dating to the Liao/Jin period (circa 11th century). Acquired in June 1914, this figure is part of a dispersed group of tricolour-glazed (sancai) statues of pre-eminent importance to the understanding of medieval Chinese sculpture. The Penn luohan is distinguished by its extraordinary portrait-like quality; luohan are mortals—the Chinese term for the Sanskrit arhat, meaning the venerable or enlightened man—a category distinct from the bodhisattva, whose path to Buddhist enlightenment is considered clearer, whilst it is less certain that an arhat will attain otherworldly status. It is precisely this mortality that lends the sculpture its highly individualised, realistic features, making it, if portrait statues existed in medieval China, exemplary of the art form.

Read the full article, “The Chinese Rotunda” by Nancy S. Steinhardt, in the September–October 2008 issue of Arts of Asia.

Pictured:
1. Luohan Yizhou, Hebei province Liao/Jin period, circa 11th century Earthenware with sancai decoration Height 105 cm, 17 cm (base) University of Pennsylvania Museum of Archaeology and Anthropology, C66a, b
2. Formally known as Charles Custis Harrison Hall Photograph by Charles Sheeler, circa 1916. UPMAA Image # 173852

For millennia, the human impulse to communicate with the divine through the repetition of prayers and mantras has found ...
29/06/2026

For millennia, the human impulse to communicate with the divine through the repetition of prayers and mantras has found physical expression in the strung bead. Buddhist prayer beads — known as mala in Sanskrit, 'phreng ba in Tibetan and jyuzu or nenju in Japanese — trace their origins to ancient India, where the Vedic reverence for sacred sound gave rise to the akshamala, a garland of beads whose earliest associations were with sacred sound, knowledge, and the divine. As Mahayana Buddhism expanded across Asia, the development of the bodhisattva ideal and, in particular, the Pure Land practice of the mantric repetition of the Buddha Amitabha’s name gave the rosary a central role in devotional life — and made it a vehicle for some of the most culturally distinctive religious art in the world.

Read the full article, “Prayer Beads in Asian Buddhist Cultures” by Anne Breckenridge Dorsey, in the July–August 2004 issue of Arts of Asia at artsofasia.com/back-issue.

Pictured:
1. Tibetan mala of deep red coral with gold counters and a jade guru bead and separators; appendages include a dzi bead and a tiny tsa tsa sewn into a silk bag. 56cm
2. Turquoise mala (Tibet) with carved bone separators and silver counters. 59.5cm

Throughout the history of the Indian subcontinent, gold has served not merely as a symbol of wealth, but as a profound s...
22/06/2026

Throughout the history of the Indian subcontinent, gold has served not merely as a symbol of wealth, but as a profound spiritual conduit connecting the earthly realm to the eternal. From the Indus Valley civilisation to modern times, jewellery has played a pre-eminent role in rituals, rites of passage and ceremonial worship, creating a shared language of adornment that linked deities, royalty and ordinary people alike.

One particularly striking example of this intersection between sacred architecture and bodily adornment is the vanki, a traditional South Indian armlet. Often designed with a distinctive double “V” shape, the vanki mimics the arched gateway of a Hindu temple. At the centre of the armlet, one frequently finds a kirtimukha — a ferocious “Face of Glory” lion-like mask that serves a protective, apotropaic function. Surrounded by swirling foliate motifs and often flanked by birds, the vanki demonstrates how craftsmen seamlessly translated the monumental stone carvings of temple architecture into portable, wearable shrines, conferring both divine protection and an aura of power upon the wearer.

Read the full article “Of Gold, Gods and Men: Jewellery in India” by Susan Ollemans in Arts of Asia November-December 2013 issue at artsofasia.com/back-issue

Pictured: Vanki, South India, 19th century, The British Museum, London, 1920,0514.1AN74845

The Qing dynasty (1644–1911) witnessed the production of spectacular silk-and-metal carpets whose technical refinement a...
16/06/2026

The Qing dynasty (1644–1911) witnessed the production of spectacular silk-and-metal carpets whose technical refinement and symbolic power rivalled that of other imperial arts. The production of these imperial carpets likely began in earnest during the Kangxi reign (1662–1722), when silk came to replace wool as the preferred material, and expanded further in the 18th century, particularly after the Qing conquest of Xinjiang in 1759, as the court increasingly drew upon techniques and artisans from Kashgar, Yarkand and Khotan.

Emblematic of this sophisticated composite construction is this spectacular Qianlong period (1736-1795) medallion carpet, currently housed in the Museo Schneiberg in Turin. Woven with a foundation of silk or cotton warp and weft, its surface consists of knotted silk pile overlaid with metal-wrapped threads—usually strips of gilt or silvered copper wound around a textile core—applied using the soumak technique. The metallic threads create a shimmering background against which the knotted motifs stand out—in this carpet, five dragons. Notably, this carpet bears the inscription Qianlong shi nian zao (Made in Qianlong's tenth year, i.e. 1745), placing it among the earliest dated carpets of its kind—a rare instance in which the date of manufacture is preserved, shedding light on the chronology of imperial carpet production.

Read the full article, “Classifying Qing Imperial Carpets: A Preliminary Proposal Inspired by the Museo Schneiberg in Turin” by Marco Guglielminotti Trivel, in the Summer 2026 issue of Arts of Asia at artsofasia.com/back-issue.

Pictured: Medallion carpet with five dragons Inscribed “Made in Qianlong’s tenth year”, 1745 150 x 240 cm. Inv. no. K131 Classif. A2-B2-C1

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