 |
 |
 |
 |
|
 Ben Janssens Oriental Art is participating in the UK’s oldest and most established fair, which takes place in the wonderful setting of the Great Room at London’s landmark Grosvenor House hotel, conveniently located on Park Lane. Our stand (no. 3) is in a new location: it is the third stand on the right-hand side as you come into the fair. Our display will include several top quality Chinese archaic bronze vessels, a number of early sculptures and pottery pieces, as well as a selection of Ming (1368 - 1644) and Qing (1644 - 1912) dynasty works of art. South-east Asian and Indian art will also be represented. Contact Ben Janssens Oriental Art for tickets
This magnificent marble torso of the Buddha is draped in a thin garment that covers the entire body and falls into a wavy line just above the feet. Subtle, engraved lines on the front and on the left flank indicate the folds of the robe. The hands are now missing, but the position of the left arm indicates that the hand would have pointed downwards in the varada mudra, signifying ‘your wish is granted’. The right arm is raised; the missing hand originally indicated the ‘fear not’ mudra. Chinese Buddhist sculpture of the 6th century often shows strong signs of influence from Indian sculpture of the Gupta period, which generally emphasizes the body form.
|
|
|||
 |
 |
 |
|
China, Northern Qi dynasty, 
Gandhara, Hadda, 
The young British artist Lucian Taylor (1967) makes objects that seem almost too beautiful, too aesthetical merely to be used in an everyday setting. Their compelling plain and archaic shapes create a sense of timelessness. Taylor’s fascination with luxurious lifestyle and consumption has led to the creation of a series of small facetted sculptures, such as models after Coca Cola bottles. In his research of solid forms he refers to ‘the beauty of ugliness and abundance’. He combines conceptual thinking with rare craftsmanship, using a complex technique of inflating precisely cut and welded metal objects. Form, function and meaning are a logical trinity within his work. It could be said that Taylor reinvigorates the essence of the form to reflect contemporary life, ‘the good life’. His objects are perhaps reminiscent of 17th century Dutch still-life paintings, in which plain and utilitarian objects comment on abundance and moral.*
