Archives: Art For Sale

Art For Sale

A Fine Old New Guinea New Ireland Malangan Sculpture of a Shark Totem Bismarck Archipelago Papua New Guinea

Fine Old New Guinea New Ireland Malangan Sculpture of a Shark Totem Bismarck Archipelago Papua New Guinea

The South Pacific islands of New Ireland were home to a complex and vibrant culture that produced some of the most imaginative carvings of Melanesia. The art of New Ireland traditionally centred around a series of mortuary ceremonies and feasts intended to honour the dead.  In northern New Ireland, the name Malangan was given to these mortuary ceremonies and their associated sculptures and masks.  Malangan rites and rituals also marked important stages of an individual’s life, and men in particular, competed during their lifetime to obtain the greatest number of Malangan rights.  The possession of these rights and privileges to specific Malangan images, and the rituals associated with them, conferred increased social status and prestige.  Cleverly incorporated into carved sculptures, these attained images and motifs served as a visual resume for the deceased and additionally illustrated important concepts such as clan and kinship, gender, death, and the spirit world.

The preparation for a Malangan ceremony would begin after a funeral and could continue for a year or more.  During this time, performances were organized,
During the ceremony, the Malangan sculptures were treated with the utmost care as it was believed that the souls of the deceased would enter the sculptures. Upon completion of the ceremony, the souls were believed to have left the body of the Malangan and the world of the living, and the sculptures were no longer needed, and so were subsequently burned or allowed to rot in the forest.

Malangan sculptures often included stylized representations of birds, fish and other identifiable marine animals, alluding to specific clan myths and the animals’ natural characteristics.

The Shark however has a very special place in ceremonial life in New Ireland In the New Ireland province of Papua New Guinea, “shark calling” is a centuries-old ritual where local men, known as shark callers, engage in a complex practice of singing, chanting, and using a conch shell to lure sharks from the sea. They believe that sharks carry the spirits of their ancestors and that by following strict protocols, they can call, capture, and kill sharks without being harmed.

Before embarking on a shark-calling expedition, the shark callers undergo rigorous preparations, including abstaining from certain foods, sexual activity, and applying special herbs to themselves and their canoes. The shark callers use a conch shell to signal the village of their success or failure. They also use specific songs, chants, and actions, including shaking a coconut rattle, to lure the sharks. Once a shark is lured, it is captured by hand, and the villagers treat the shark with respect, believing it holds a spiritual connection to their ancestors.

Malangan carvings portraying fish are quite rare, and they were displayed both as independent sculptures and were also incorporated into upright figurative sculptures, whereby the figure was often positioned standing inside the mouth of the fish

Provenance: Old Collection Australia and The Todd Barlin Collection of New Guinea Oceanic Art

See my new EXHIBITIONS GALLERY  showing the Museums and Art Galleries Exhibitions that I provided artworks for over the past 40 years. There is the link to the article about my artworks published in the prestigious Louvre Magazine in 1996

I have artwork for Museums and art Galleries but also for collectors at every stage of their collecting. I want to encourage people to explore the fine art of New Guinea & West Papua and the Pacific Islands and to be able to see and touch the artworks in a relaxed and friendly manner in my Sydney Gallery. I would like to invite you to visit my gallery and see the artworks in person and also look at my website www.oceanicartsaustralia.com where there are many Galleries & Sub Galleries to explore.

My Gallery of nearly 40 years is the last physical gallery in Sydney that specializes in New Guinea and Oceanic Art.  Sydney is very close to New Guinea & the Pacific Islands where all of these amazing artworks came from, Australia’s closest neighbours.

INQUIRE HERE

If you have a similar “object” for sale please contact me for the best price and honest advice by a Government approved valuer 

To see many more rare items and the finest masterpieces, please make an appointment with us to visit the gallery.

For all inquiries, please contact us 

 

A Superb O Aboriginal Bark Painting Xray Kangaroo from Western Arnhem Land Northern Territory Australia

This Superb Old Bark Painting of a Kangaroo from the Oenpelli Area in Western Arnhem Land, Northern Australia

This superb old Bark Painting depicts a Kangaroo, which is painted in the x-ray styl,e showing the internal organs. This painting is done in the style of the ancient Rock Art Paintings that Western Arnhem Land is world-famous for.

Arnhem Land Rock Art sites are some thousands of years old, where ancient rock shelters were painted and maintained over generations

Some of the oldest bark paintings look like this fine example, were cut from bark shelters where people stayed to collect seasonal food, and they sometimes painted on the walls & ceilings just as they did in the rock shelters.

Arnhem Land Bark Paintings, closely-spaced fine lines are drawn in particular colours, intersecting each other. The chosen colours may be specific to a particular clan, and the effect is difficult to describe but produces a deep impression on the viewer.

Indigenous Artists from Arnhem Land in the Northern Territory use crushed earth ochre pigments to paint on sheets of eucalyptus bark, they paint beautiful spiritual images of deep cultural significance that show their spiritual connection with specific tracts of country

The designs seen on Arnhem Land Bark Paintings are traditionally owned by the artist, or his “skin”, or his clan, and cannot be painted by other artists. In many cases, these designs would traditionally be used to paint the body for ceremonies or rituals, and also to decorate logs used in ceremonies.

Provenance: The Todd Barlin Collection of Oceanic and Australian Aboriginal

If you have any Bark Paintings, I am always interested in buying & I pay top prices for Bark Paintings that I like. Please send a photo for a free Valuation.

See my new EXHIBITIONS GALLERY  showing the Museums and Art Galleries Exhibitions that I provided artworks for over the past 40 years. There is the link to the article about my artworks published in the prestigious Louvre Magazine in 1996

I have artwork for Museums and art Galleries but also for collectors at every stage of their collecting. I want to encourage people to explore the fine art of New Guinea & West Papua and the Pacific Islands and to be able to see and touch the artworks in a relaxed and friendly manner in my Sydney Gallery. I would like to invite you to visit my gallery and see the artworks in person and also look at my website www.oceanicartsaustralia.com where there are many Galleries & Sub Galleries to explore.

My Gallery of nearly 40 years is the last physical gallery in Sydney that specializes in New Guinea and Oceanic Art.  Sydney is very close to New Guinea & the Pacific Islands where all of these amazing artworks came from, Australia’s closest neighbors.

INQUIRE HERE

If you have a similar “object” for sale please contact me for the best price and honest advice by a Government approved valuer 

To see many more rare items and the finest masterpieces, please make an appointment with us to visit the gallery.

For all inquiries, please contact us 

 

A Superb Old Aboriginal Hafted Stone Axe Maningrida Central Arnhem Land Northern Territory Australia

A Superb Old Aboriginal Hafted Stone Axe Maningrida Central Arnhem Land Northern Territory Australia

This beautiful old Hafted Stone Axe was an important tool, but also an important Ceremonial Object.  As a ceremonial object, this is shown in the very fine ochre painting on the top section. This cross-hatching, called Raark is one of the most distinctive and beautiful features of Arnhem Land Bark Paintings. Closely-spaced fine lines are drawn in particular colours, intersecting each other.

The chosen colours may be specific to a particular clan, and the effect is difficult to describe but produces a deep impression on the viewer. Traditionally, the most sacred designs drawn on bodies during ceremonies were drawn with a quality called “bir’yun”, which is loosely translated as scintillation (as in the twinkling of stars) but carries a connotation of sunlight reflected off the sparkling water.

Indigenous Artists from Arnhem Land in the Northern Territory use crushed earth ochre pigments to paint on sheets of eucalyptus bark, they paint beautiful spiritual images of deep cultural significance that show their spiritual connection with specific tracts of country

Arnhem Land Rock Art sites are thousands of years old, where ancient rock shelters were painted and maintained over generations. Arnhem Land is world-renowned for its Rock Art.

The designs seen on Arnhem Land Bark Paintings are traditional designs owned by the artist, or his “skin”, or his clan, and cannot be painted by other artists. In many cases, these designs would traditionally be used to paint the body for ceremonies or rituals, and also to decorate logs used in ceremonies. Artists also would paint designs on the bark walls and roofs of their shelters where they stayed during seasonal food gathering.

Provenance:  Old Collection Australia & The Todd Barlin Collection of Oceanic and Australian Aboriginal

If you have any Bark Paintings, I am always interested in buying & I pay top prices for Bark Paintings & Aretifcs that I like. Please send a photo for a free Valuation.

See my new EXHIBITIONS GALLERY  showing the Museums and Art Galleries Exhibitions that I provided artworks for over the past 40 years. There is a link to the article about my artworks published in the prestigious Louvre Magazine in 1996

I have artwork for Museums and art Galleries but also for collectors at every stage of their collecting. I want to encourage people to explore the fine art of New Guinea & West Papua and the Pacific Islands and to be able to see and touch the artworks in a relaxed and friendly manner in my Sydney Gallery. I want to invite you to visit my gallery and see the artworks in person, and also look at my website www.oceanicartsaustralia.com, where there are many Galleries & Sub Galleries to explore.

My Gallery of nearly 40 years is the last physical gallery in Sydney that specializes in New Guinea and Oceanic Art.  Sydney is very close to New Guinea & the Pacific Islands where all of these amazing artworks came from, Australia’s closest neighbors.

INQUIRE HERE

If you have a similar “object” for sale please contact me for the best price and honest advice by a Government approved valuer 

To see many more rare items and the finest masterpieces, please make an appointment with us to visit the gallery.

For all inquiries, please contact us 

 

A superb old Aboriginal Bark Painting Xray Kangaroo from Western Arnhem Land Northern Territory Australia

This Superb Old Bark Painting of a large Kangaroo from the Oenpelli Area in Western Arnhem Land, Northern Australia

This superb Bark Painting of a large Kangaroo, showing the internal organs, the very fine cross-hatching or Raark shows the great skill of the artist. This painting is done in the style of the early Rock Art Paintings that Western Arnhem Land is world-famous for.

Cross-hatching on bark paintings called Raark is one of the most distinctive and beautiful features of Arnhem Land Bark Paintings closely-spaced fine lines are drawn in particular colours, intersecting each other. The chosen colours may be specific to a particular clan, and the effect is difficult to describe but produces a deep impression on the viewer. Traditionally, the most sacred designs drawn on bodies during ceremonies were drawn with a quality called “bir’yun”, which is loosely translated as scintillation (as in the twinkling of stars) but carries a connotation of sunlight reflected off the sparkling water.

Indigenous Artists from Arnhem Land in the Northern Territory, use crushed earth ochre pigments to paint on sheets of eucalyptus bark, they paint beautiful spiritual images of deep cultural significance that show their spiritual connection with specific tracts of country

Arnhem Land Rock Art sites are some thousands of years old, where ancient rock shelters were painted and maintained over generations. Arnhem Land is world-renowned for its Rock Art.

The designs seen on Arnhem Land Bark Paintings are traditional designs that are owned by the artist, or his “skin”, or his clan, and cannot be painted by other artists. In many cases, these designs would traditionally be used to paint the body for ceremonies or rituals, and also to decorate logs used in ceremonies. Artists also would paint designs on the bark walls and roofs of their shelters where stayed during seasonal food gathering.

Provenance: The Todd Barlin Collection of Oceanic and Australian Aboriginal

If you have any Bark Paintings, I am always interested in buying & I pay top prices for Bark Paintings that I like. Please send a photo for a free Valuation.

See my new EXHIBITIONS GALLERY  showing the Museums and Art Galleries Exhibitions that I provided artworks for over the past 40 years. There is the link to the article about my artworks published in the prestigious Louvre Magazine in 1996

I have artwork for Museums and art Galleries but also for collectors at every stage of their collecting. I want to encourage people to explore the fine art of New Guinea & West Papua and the Pacific Islands and to be able to see and touch the artworks in a relaxed and friendly manner in my Sydney Gallery. I would like to invite you to visit my gallery and see the artworks in person and also look at my website www.oceanicartsaustralia.com where there are many Galleries & Sub Galleries to explore.

My Gallery of nearly 40 years is the last physical gallery in Sydney that specializes in New Guinea and Oceanic Art.  Sydney is very close to New Guinea & the Pacific Islands where all of these amazing artworks came from, Australia’s closest neighbors.

INQUIRE HERE

If you have a similar “object” for sale please contact me for the best price and honest advice by a Government approved valuer 

To see many more rare items and the finest masterpieces, please make an appointment with us to visit the gallery.

For all inquiries, please contact us 

 

A Superb Old Japanese Natural Form Burl Wood Scholars Object for Ikebana Flowers

A Superb Old Japanese Natural Form Burl Wood Okimono or Scholar’s Object

This amazing burlwood Ikebana Container looks like a large human thumb coming out of the side.  It takes an expert’s eye to recognise the beauty and potential of root and burl treasures that are found in the wild, and skilled artisans then transform these natural wonders into functional and unique works of art

Natural arrangements for trays of this type, according to the nageire, or thrown-in, style of flower arranging, is recognized as a certain stylistic category of Kado which had its origin in early ‘Buddhist flower offerings, (kuge).

Kado and Ikebana are technically the same, however, the term Kado refers not only to the beauty of the flowers but also requires manners, techniques, mental and physical training as well.

It is said that Buddhism was officially introduced to Japan around the middle of the 6th century. In Buddhism, there is a ritual of offering flowers to Buddha called “kuge,” and it is believed that this culture greatly influenced the origin of Kado.

In addition, in the ancient Japanese belief in the worship of gods, later called Shinto, there was the notion that trees were inhabited by divine spirits. Combined with this fundamental belief, the custom of offering flowers to the gods and Buddha is thought to have been accepted as natural.

The oldest style of Ikebana and the founder of Kado, is the Ikebana school in Kyoto. The origin of Ikebana is said to lie in the flower offerings made by the monks of Shiyunsan Johoji Temple in Kyoto. The priests of Ikebana offered flowers to Nyoirin Kannon the Buddhist Bodhisattva Avalokiteśvara

Kado is the art of arranging flowers, plants, and trees. There is a systematised aesthetic sense and theory of layout that has been handed down since ancient times. The names and ideas differ slightly from school to school, and the complex principles involved are difficult to outline in a single sentence, but let us touch on a few principles.

First of all, Kado artwork is characterized by the fact that the direction in which it is viewed is basically fixed. Unlike flower arrangements, which can be viewed from any direction, ikebana works must be placed in a “tokonoma,” or alcove. Therefore, ikebana has a “front” that should be appreciated. Also, because flowers, plants, and trees are natural objects, no single piece of ikebana can be perfectly symmetrical.

The way of arranging flowers also expands infinitely depending on assumptions such as the combination of seasons, colour schemes, and the types of flowers to be used.

This is a Wabi-Sabi Okimono that may have been used in tea ceremonies for Ikebana Flower Displays

In Zen philosophy there are seven aesthetic principles for achieving Wabi-Sabi as listed below;

Fukinsei (不均斉): asymmetry, irregularity;

Kanso (簡素): simplicity;

Koko (考古): basic, weathered;

Shizen (自然): without pretence, natural;

Yugen (幽玄): subtly profound grace, not obvious;

Datsuzoku (脱俗): unbounded by convention, free;

Scholars’ objects were, in a sense, the luxury goods of their time, but rather than wealth, what they really represented was the physical embodiment of the scholar’s intellectual curiosity and aesthetic taste.

Provenance: The Todd Barlin Collection of Japanese Art & Objects & Asian Art & Objects. Please look at my collection of Japanese Inro & Smoking Pouches & other Japanese art objects on my website.

See more Fine Japanese Art in Japanese Art Gallery

See my new EXHIBITIONS GALLERY  showing the Museums and Art Galleries Exhibitions that I provided artworks for over the past 40 years. There is the link to the article about my artworks published in the prestigious Louvre Magazine in 1996

I have artwork for Museums and art Galleries but also for collectors at every stage of their collecting. I want to encourage people to explore the fine art of New Guinea & West Papua and the Pacific Islands and to be able to see and touch the artworks in a relaxed and friendly manner in my Sydney Gallery. I would like to invite you to visit my gallery and see the artworks in person and also look at my website www.oceanicartsaustralia.com where there are many Galleries & Sub Galleries to explore.

My Gallery of nearly 40 years is the last physical gallery in Sydney that specializes in New Guinea and Oceanic Art.  Sydney is very close to New Guinea & the Pacific Islands where all of these amazing artworks came from, Australia’s closest neighbours.

INQUIRE HERE

If you have a similar “object” for sale please contact me for the best price and honest advice by a Government approved valuer 

To see many more rare items and the finest masterpieces, please make an appointment with us to visit the gallery.

For all inquiries, please contact us 

 

A Superb Old Japanese Natural Form Burl Wood Scholars Object for Ikebana Flowers

A Superb Old Japanese Natural Form Burl Wood Okimono or Scholar’s Object

This amazing burlwood Ikebana sculpture I thought looks like a Deer’s head, and I always called it the “Nara Deer” after the famous deer that roam free in the ancient city of Nara near Kyoto. It takes an expert’s eye to recognise the beauty and potential of root and burl treasures that are found in the wild, and skilled artisans then transform these natural wonders into functional and unique works of art

Natural arrangements for trays of this type, according to the nageire, or thrown in, style of flower arranging, is recognized as a certain stylistic category of Kado which had its origin in early ‘Buddhist flower offerings, (kuge).

Kado and Ikebana are technically the same, however, the term Kado refers not only to the beauty of the flowers but also requires manners, techniques, mental and physical training as well.

It is said that Buddhism was officially introduced to Japan around the middle of the 6th century. In Buddhism, there is a ritual of offering flowers to Buddha called “kuge,” and it is believed that this culture greatly influenced the origin of Kado.

In addition, in the ancient Japanese belief in the worship of gods, later called Shinto, there was the notion that trees were inhabited by divine spirits. Combined with this fundamental belief, the custom of offering flowers to the gods and Buddha is thought to have been accepted as natural.

The oldest style of Ikebana and the founder of Kado, is the Ikebana school in Kyoto. The origin of Ikebana is said to lie in the flower offerings made by the monks of Shiyunsan Johoji Temple in Kyoto. The priests of Ikebana offered flowers to Nyoirin Kannon the Buddhist Bodhisattva Avalokiteśvara

Kado is the art of arranging flowers, plants, and trees. There is a systematized aesthetic sense and theory of layout that has been handed down since ancient times. The names and ideas differ slightly from school to school, and the complex principles involved are difficult to outline in a single sentence, but let us touch on a few principles.

First of all, Kado artwork is characterized by the fact that the direction in which it is viewed is basically fixed. Unlike flower arrangements, which can be viewed from any direction, ikebana works must be placed in a “tokonoma,” or alcove. Therefore, ikebana has a “front” that should be appreciated. Also, because flowers, plants, and trees are natural objects, no single piece of ikebana can be perfectly symmetrical.

The way of arranging flowers also expands infinitely depending on assumptions such as the combination of seasons, colour schemes, and the types of flowers to be used.

This is a Wabi-Sabi Okimono that may have been used in tea ceremonies for Ikebana Flower Displays

In Zen philosophy there are seven aesthetic principles for achieving Wabi-Sabi as listed below;

Fukinsei (不均斉): asymmetry, irregularity;

Kanso (簡素): simplicity;

Koko (考古): basic, weathered;

Shizen (自然): without pretence, natural;

Yugen (幽玄): subtly profound grace, not obvious;

Datsuzoku (脱俗): unbounded by convention, free;

Scholars’ objects were, in a sense, the luxury goods of their time, but rather than wealth, what they really represented was the physical embodiment of the scholar’s intellectual curiosity and aesthetic taste.

Provenance: The Todd Barlin Collection of Japanese Art & Objects & Asian Art & Objects. Please look at my collection of Japanese Inro & Smoking Pouches & other Japanese art objects on my website.

See more Fine Japanese Art in Japanese Art Gallery

See my new EXHIBITIONS GALLERY  showing the Museums and Art Galleries Exhibitions that I provided artworks for over the past 40 years. There is the link to the article about my artworks published in the prestigious Louvre Magazine in 1996

I have artwork for Museums and art Galleries but also for collectors at every stage of their collecting. I want to encourage people to explore the fine art of New Guinea & West Papua and the Pacific Islands and to be able to see and touch the artworks in a relaxed and friendly manner in my Sydney Gallery. I would like to invite you to visit my gallery and see the artworks in person and also look at my website www.oceanicartsaustralia.com where there are many Galleries & Sub Galleries to explore.

My Gallery of nearly 40 years is the last physical gallery in Sydney that specializes in New Guinea and Oceanic Art.  Sydney is very close to New Guinea & the Pacific Islands where all of these amazing artworks came from, Australia’s closest neighbours.

INQUIRE HERE

If you have a similar “object” for sale please contact me for the best price and honest advice by a Government approved valuer 

To see many more rare items and the finest masterpieces, please make an appointment with us to visit the gallery.

For all inquiries, please contact us 

 

A Superb Old Japanese Natural Form Burl Wood Scholars Object for Ikebana Flowers

A Superb Old Japanese Natural Form Burl Wood Okimono or Scholar’s Object

This amazing burlwood Ikebana sculpture I thought looks like a Deer’s head, and I always called it the “Nara Deer” after the famous deer that roam free in the ancient city of Nara near Kyoto. It takes an expert’s eye to recognise the beauty and potential of root and burl treasures that are found in the wild, and skilled artisans then transform these natural wonders into functional and unique works of art

Natural arrangements for trays of this type, according to the nageire, or thrown in, style of flower arranging, is recognized as a certain stylistic category of Kado which had its origin in early ‘Buddhist flower offerings, (kuge).

Kado and Ikebana are technically the same, however, the term Kado refers not only to the beauty of the flowers but also requires manners, techniques, mental and physical training as well.

It is said that Buddhism was officially introduced to Japan around the middle of the 6th century. In Buddhism, there is a ritual of offering flowers to Buddha called “kuge,” and it is believed that this culture greatly influenced the origin of Kado.

In addition, in the ancient Japanese belief in the worship of gods, later called Shinto, there was the notion that trees were inhabited by divine spirits. Combined with this fundamental belief, the custom of offering flowers to the gods and Buddha is thought to have been accepted as natural.

The oldest style of Ikebana and the founder of Kado, is the Ikebana school in Kyoto. The origin of Ikebana is said to lie in the flower offerings made by the monks of Shiyunsan Johoji Temple in Kyoto. The priests of Ikebana offered flowers to Nyoirin Kannon the Buddhist Bodhisattva Avalokiteśvara

Kado is the art of arranging flowers, plants, and trees. There is a systematized aesthetic sense and theory of layout that has been handed down since ancient times. The names and ideas differ slightly from school to school, and the complex principles involved are difficult to outline in a single sentence, but let us touch on a few principles.

First of all, Kado artwork is characterized by the fact that the direction in which it is viewed is basically fixed. Unlike flower arrangements, which can be viewed from any direction, ikebana works must be placed in a “tokonoma,” or alcove. Therefore, ikebana has a “front” that should be appreciated. Also, because flowers, plants, and trees are natural objects, no single piece of ikebana can be perfectly symmetrical.

The way of arranging flowers also expands infinitely depending on assumptions such as the combination of seasons, colour schemes, and the types of flowers to be used.

This is a Wabi-Sabi Okimono that may have been used in tea ceremonies for Ikebana Flower Displays

In Zen philosophy there are seven aesthetic principles for achieving Wabi-Sabi as listed below;

Fukinsei (不均斉): asymmetry, irregularity;

Kanso (簡素): simplicity;

Koko (考古): basic, weathered;

Shizen (自然): without pretence, natural;

Yugen (幽玄): subtly profound grace, not obvious;

Datsuzoku (脱俗): unbounded by convention, free;

Scholars’ objects were, in a sense, the luxury goods of their time, but rather than wealth, what they really represented was the physical embodiment of the scholar’s intellectual curiosity and aesthetic taste.

Provenance: The Todd Barlin Collection of Japanese Art & Objects & Asian Art & Objects. Please look at my collection of Japanese Inro & Smoking Pouches & other Japanese art objects on my website.

See more Fine Japanese Art in Japanese Art Gallery

See my new EXHIBITIONS GALLERY  showing the Museums and Art Galleries Exhibitions that I provided artworks for over the past 40 years. There is the link to the article about my artworks published in the prestigious Louvre Magazine in 1996

I have artwork for Museums and art Galleries but also for collectors at every stage of their collecting. I want to encourage people to explore the fine art of New Guinea & West Papua and the Pacific Islands and to be able to see and touch the artworks in a relaxed and friendly manner in my Sydney Gallery. I would like to invite you to visit my gallery and see the artworks in person and also look at my website www.oceanicartsaustralia.com where there are many Galleries & Sub Galleries to explore.

My Gallery of nearly 40 years is the last physical gallery in Sydney that specializes in New Guinea and Oceanic Art.  Sydney is very close to New Guinea & the Pacific Islands where all of these amazing artworks came from, Australia’s closest neighbours.

INQUIRE HERE

If you have a similar “object” for sale please contact me for the best price and honest advice by a Government approved valuer 

To see many more rare items and the finest masterpieces, please make an appointment with us to visit the gallery.

For all inquiries, please contact us 

 

A Superb Old Japanese Natural Form Stand or Kadai Edo Period 19th Century

A Superb Old Japanese Natural Form Burl Wood Stand for Ikebana Flowers

This beautiful and mysterious object is a root-wood Kadai Stand or table is from Japan was made in the 19th Century. A Kadai is a Japanese stand or table used for putting Ikebana Flower arrangements or Okimono created specifically for display, and often used in tea ceremonies

The Japanese aesthetic of using natural forms in wood with minimal additions by the artist is one of the most beautiful objects in my collection.  No matter which side you look at, there is always something new in the form, like when looking at clouds in the sky.

This is a Wabi-Sabi Okimono sculpture that was probably used in tea ceremonies.

In Zen philosophy, there are seven aesthetic principles for achieving Wabi-Sabi as listed below;

Fukinsei (不均斉): asymmetry, irregularity;

Kanso (簡素): simplicity;

Koko (考古): basic, weathered;

Shizen (自然): without pretence, natural;

Yugen (幽玄): subtly profound grace, not obvious;

Datsuzoku (脱俗): unbounded by convention, free;

Tree Root and Bamboo carving is a traditional art in Japan, and has a long history among the Folk-Art carvers and practitioners specifically focused on supporting Ikebana, displays of precious artwork, and objects that have a practical utility such as Calligraphy brushes, brush pots and washers, containers, slabs, as well as the production of pieces of simply aesthetic value.

Three-dimensional objects such as miniature mountains are valued by Buddhists throughout Japan, for which many pieces cannot be named easily, and therefore are referred to as “nameless” root carvings. Integrating ingenuity and craftiness, they all focused on the unique features of ingenuous techniques exhibited in the creation of beautiful containers and display furniture.

It all began with wood craftsmen and the desire to support the formal traditions of Japan such as the tea ceremony and religious ceremonies with objects created out of crude tree roots and bamboo element. These works thoroughly exhibit the enthusiasm of number of root carvers and Buddhist Monks in service throughout the Japanese development of carving that gained unique artistic appeal and won the hearts of people throughout Japan and around the world.

The creation of root carvings included many steps, including root selection, conception, processing, and lacquering all based on the important principle of making useful the natural tree and elements of the tree root. Bamboo roots are different in their forms, either in size or in structure. Each root is suitable for carving according to its natural structure. The Japanese claim “three-tenths of the work is done by humans, seven-tenths are determined by nature,” attaching great importance to making use of the traits of the natural root, such as the fibres, holes, knurls, veins, colour and lustre. With a motif in mind, the creator should employ different carving techniques on roots of different shapes; the ultimate purpose is to integrate the unique beauty of the natural root with the cunning beauty attained by carving. Since root carving is largely done by making use of the natural beauty, the opus is of an integrated style.

The second principle is highlighting the composition. There are quite many modes of composition in root carving, and the one most common is the “triangle setup”, which is usually employed in sculpture. Other geometrical shapes, such as circles, ellipses and lozenges, are also used to further composition. Next comes the principle of expressing the mentality and sentiment of the creator. Root carving derives from real life, and it surpasses and regresses to it. However, it is by no means a replication of real life; rather, the creator reveals his inner feelings by making use of the characteristics of the natural root.

Finally comes the principle of seeking singularity and pursuing beauty. No art form is detached from the material used, and root carving is no exception. Root artists have to refer to nature for materials, and their pursuit of singularity and beauty lies in the process of selecting roots as well as in the conception process. They have to find out and collect roots of various odd shapes, which give them creative inspiration. Only after obtaining a uniquely shaped root can the artist apply his or her wisdom, imagination and originality to creative bamboo and root carving.

Provenance: The Todd Barlin Collection of Japanese Art & Objects & Asian Art & Objects. Please look at my collection of Japanese Inro & Smoking Pouches & other Japanese art objects on my website link below

See more Fine Japanese Art in Japanese Art Gallery

See my new EXHIBITIONS GALLERY  showing the Museums and Art Galleries Exhibitions that I provided artworks for over the past 40 years. There is the link to the article about my artworks published in the prestigious Louvre Magazine in 1996

I have artwork for Museums and art Galleries but also for collectors at every stage of their collecting. I want to encourage people to explore the fine art of New Guinea & West Papua and the Pacific Islands and to be able to see and touch the artworks in a relaxed and friendly manner in my Sydney Gallery. I would like to invite you to visit my gallery and see the artworks in person and also look at my website www.oceanicartsaustralia.com where there are many Galleries & Sub Galleries to explore.

My Gallery of nearly 40 years is the last physical gallery in Sydney that specializes in New Guinea and Oceanic Art.  Sydney is very close to New Guinea & the Pacific Islands where all of these amazing artworks came from, Australia’s closest neighbours.

INQUIRE HERE

If you have a similar “object” for sale please contact me for the best price and honest advice by a Government approved valuer 

To see many more rare items and the finest masterpieces, please make an appointment with us to visit the gallery.

For all inquiries, please contact us 

 

A Superb Old Japanese Natural Form Burl Wood Scholars Object for Ikebana Flowers

A Superb Old Japanese Natural Form Burl Wood Okimono or Scholar’s Object

This amazing Rootwood Ikebana Sculpture is partially carved as a mythical animal, possibly a Shishi Lion. It is a stand-alone sculpture of great artistry but I think it was made to hold flower arrangements.

It takes an expert’s eye to recognize the beauty and potential of root and burl treasures that are found in the wild, and skilled artisans then transform these natural wonders into functional and unique works of art

Natural arrangements for trays of this type, according to the nageire, or thrown in, style of flower arranging, is recognized as a certain stylistic category of Kado which had its origin in early ‘Buddhist flower offerings, (kuge).

Kado and Ikebana are technically the same, however, the term Kado refers not only to the beauty of the flowers but also requires manners, techniques, mental and physical training as well.

It is said that Buddhism was officially introduced to Japan around the middle of the 6th century. In Buddhism, there is a ritual of offering flowers to Buddha called “kuge,” and it is believed that this culture greatly influenced the origin of Kado.

In addition, in the ancient Japanese belief in the worship of gods, later called Shinto, there was the notion that trees were inhabited by divine spirits. Combined with this fundamental belief, the custom of offering flowers to the gods and Buddha is thought to have been accepted as natural.

The oldest style of Ikebana and the founder of Kado, is the Ikebana school in Kyoto. The origin of Ikebana is said to lie in the flower offerings made by the monks of Shiyunsan Johoji Temple in Kyoto. The priests of Ikebana offered flowers to Nyoirin Kannon the Buddhist Bodhisattva Avalokiteśvara

Kado is the art of arranging flowers, plants, and trees. There is a systematized aesthetic sense and theory of layout that has been handed down since ancient times. The names and ideas differ slightly from school to school, and the complex principles involved are difficult to outline in a single sentence, but let us touch on a few principles.

First of all, Kado artwork is characterized by the fact that the direction in which it is viewed is basically fixed. Unlike flower arrangements, which can be viewed from any direction, ikebana works must be placed in a “tokonoma,” or alcove. Therefore, ikebana has a “front” that should be appreciated. Also, because flowers, plants, and trees are natural objects, no single piece of ikebana can be perfectly symmetrical.

The way of arranging flowers also expands infinitely depending on assumptions such as the combination of seasons, colour schemes, and the types of flowers to be used.

This is a Wabi-Sabi Okimono that may have been used in tea ceremonies for Ikebana Flower Displays

In Zen philosophy there are seven aesthetic principles for achieving Wabi-Sabi as listed below;

Fukinsei (不均斉): asymmetry, irregularity;

Kanso (簡素): simplicity;

Koko (考古): basic, weathered;

Shizen (自然): without pretence, natural;

Yugen (幽玄): subtly profound grace, not obvious;

Datsuzoku (脱俗): unbounded by convention, free;

Scholars’ objects were, in a sense, the luxury goods of their time, but rather than wealth, what they really represented was the physical embodiment of the scholar’s intellectual curiosity and aesthetic taste.

Provenance: The Todd Barlin Collection of Japanese Art & Objects & Asian Art & Objects. Please look at my collection of Japanese Inro & Smoking Pouches & other Japanese art objects on my website.

See more Fine Japanese Art in Japanese Art Gallery

See my new EXHIBITIONS GALLERY  showing the Museums and Art Galleries Exhibitions that I provided artworks for over the past 40 years. There is the link to the article about my artworks published in the prestigious Louvre Magazine in 1996

I have artwork for Museums and art Galleries but also for collectors at every stage of their collecting. I want to encourage people to explore the fine art of New Guinea & West Papua and the Pacific Islands and to be able to see and touch the artworks in a relaxed and friendly manner in my Sydney Gallery. I would like to invite you to visit my gallery and see the artworks in person and also look at my website www.oceanicartsaustralia.com where there are many Galleries & Sub Galleries to explore.

My Gallery of nearly 40 years is the last physical gallery in Sydney that specializes in New Guinea and Oceanic Art.  Sydney is very close to New Guinea & the Pacific Islands where all of these amazing artworks came from, Australia’s closest neighbours.

INQUIRE HERE

If you have a similar “object” for sale please contact me for the best price and honest advice by a Government approved valuer 

To see many more rare items and the finest masterpieces, please make an appointment with us to visit the gallery.

For all inquiries, please contact us 

 

A Fine Old New Guinea Abelam Wood Head Prince Alexander Mountains East Sepik Province Papua New Guinea

A Fine Old New Guinea Abelam Wood Head from the Prince Alexander Mountains Area in the East Sepik Province of Papua New Guinea

This finely carved and painted wood head, called Idap was used in Yam Harvest ceremonies that are at the heart of the Abelam Culture.  This beautiful old example shows an Ancestor wearing a police cap ( Kiap Hat). The hat shows the prestige that European goods had for the local people.

Lavishly adorned for the presentation ceremony, the finest long yams are essentially transformed into human images, decorated like men in full ceremonial regalia. The “heads” of the enormous tubers are adorned with specially made yam masks such as this one, which is made exclusively for yams and is never worn by humans.

The Abelam are well known for their large and beautiful Ceremonial Houses where sacred artworks are kept & the initiation of young men takes place.

One of the major focuses of ceremonial life among the Abelam people of northeast New Guinea is the competitive growth and exchange of long yams. The Abelam cultivate two distinct categories of yams—a small variety used as ordinary food and long yams, massive tubers that can be as much as twelve feet long. A man’s social status is determined largely by his success in growing long yams. Each man has a permanent exchange partner to whom he ceremonially presents his largest yams following the annual harvest, later receiving those of his rival in return. Men who are consistently able to give their partners longer yams than they receive gain great prestige.

Provenance:  The Peter Hallinan Collection /  The Elizabeth Pryce Collection & The Todd Barlin Collection of  New Guinea Oceanic Art

See my new EXHIBITIONS GALLERY  showing the Museums and Art Galleries Exhibitions that I provided artworks for over the past 40 years. There is the link to the article about my artworks published in the prestigious Louvre Magazine in 1996

I have artwork for Museums and art Galleries but also for collectors at every stage of their collecting. I want to encourage people to explore the fine art of New Guinea & West Papua and the Pacific Islands and to be able to see and touch the artworks in a relaxed and friendly manner in my Sydney Gallery. I would like to invite you to visit my gallery and see the artworks in person and also look at my website www.oceanicartsaustralia.com where there are many Galleries & Sub Galleries to explore.

My Gallery of nearly 40 years is the last physical gallery in Sydney that specializes in New Guinea and Oceanic Art.  Sydney is very close to New Guinea & the Pacific Islands where all of these amazing artworks came from, Australia’s closest neighbours.

INQUIRE HERE

If you have a similar “object” for sale please contact me for the best price and honest advice by a Government approved valuer 

To see many more rare items and the finest masterpieces, please make an appointment with us to visit the gallery.

For all inquiries, please contact us 

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