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Exceptional Museum-Quality Antiques at

Fine Art Asia 2016

2-5 October 2016, Hong Kong Convention and Exhibition Centre

Fine Art Asia 2016, Asia¡¦s leading annual fine art fair, showcases the elite of antiques galleries worldwide. Expert specialists from both East and West will present an unprecedented range of museum-quality artworks, ranging from ancient Chinese and Himalayan bronzes to Central Asian gold wares, Chinese porcelain and lacquer to furniture, textiles and snuff bottles.

Rossi & Rossi, London and Hong Kong, who have exhibited every year since the inception of the fair in 2006, return with rare Buddhist and Hindu paintings, sculptures and ritual objects from China, India and the Himalayas. Each piece displays masterful craftsmanship and embodies deep religious significance.


Vajrasattva Shakti
Mongolia, School of Zanabazar, late 17th¡Vearly 18th century
H. 25 cm
Rossi & Rossi, London and Hong Kong

A bronze sculpture of Vajrasattva Shakti from the School of Zanabazar in Mongolia, dating from the late 17th to early 18th century, is one of the masterpieces of the exhibition. Seated on a double-lotus base, the bodhisattva embraces his consort Shakti, whose legs wrap around his waist while her arms tightly enfold him. He holds a vajra in his right hand and a bell in his left; she holds a chopper in her right hand and skull bowl in her left. Usually Vajrasattva was depicted as a single figure, making this image rare. The couple gaze intently at each other, the union of Vajrasattva and his consort being a metaphor for the desired result of tantric meditation. Zanabazar (1635-1723) was a highly significant Asian artist who distinguished himself in a range of disciplines, similar to the great Renaissance masters Leonardo da Vinci and Michelangelo. This is a superb example of the style of Zanabazar: richly gilded and finely modelled with exquisitely embellished details, imparting a sense of naturalness and vitality.

Another highlight is a thangka depicting Vajravarahi, symbol of freedom from ignorance, interpreted by a talented c. late 12th or early 13th century Tibetan painter. On the saffron yellow centre of a lotus, the wide-eyed goddess trammels a supine male whose arms stretch overhead as if in surrender. In a shade just deeper than that of her body, a red curtain of flames provides the backdrop against which eight members of her entourage dance, their arms aloft with hand drums and skull cups. Six other dakinis appear in the lower register and another eight in the side registers, indicating that the painting represents a mandala or sacred assembly associated with the goddess. The figures are beautifully painted, each imbued with a distinctive character, costume, coiffure, facial features, and demeanour.


Tibet-China, c. 12th century
Distemper on cloth
H. 79.5 x W. 59.5cm
Rossi & Rossi,
London and Hong Kong

Vanderven Oriental Art, s-Hertogenbosch, The Netherlands, returning to Fine Art Asia for the 6th consecutive year, presents an outstanding exhibition of Chinese porcelain and works of art.

A highlight is a large Ming Dynasty temple vase dating from the late Jiajing period (1522-1566). Freely decorated in a vibrant underglaze blue, it has an elegant baluster shape, with a tall neck gently flaring out at the mouth and foot. The top section is decorated with Tibetan Sanskrit characters, used in Nepal and Tibet especially for Buddhist prayers, or in special religious texts. Below it is a large central character of the Buddhist invocation Om- surrounded by scrolling foliage. The main decorative theme is of large lingzhi fungi set amongst swirling scrollwork garlands and below this, dragons with three-clawed front legs and curling tails, chasing flaming pearls amongst the clouds. The combination of the shape and decoration on this vase, suggest that it would have been made for ritual use in a Buddhist temple. Vases of a similar shape but differing decoration can be found in The Bauer Collection, Geneva and the Musée Guimet, Paris.

Temple vase
China, Ming Dynasty,
late Jiajing period (1522-1566)
H. 82cm
Vanderven Oriental Art, s-Hertogenbosch, Netherlands

Another highlight is a pair of underglaze blue stem cups (gao zu bei) dating from the Wanli period (1573-1620) of the Ming Dynasty. The outside of the bowl shows a celebratory procession of the Zhuangyuan, the name given to the top scholar in the final imperial examinations, presided over by the Emperor himself. On the side is a scene of fish among water plants, signifying the Confucian ideal of the gentleman scholar. This type of cups, produced in the porcelain kilns at Jingdezhen, became particularly popular from the Yuan Dynasty onwards and were used domestically for serving wine or fruit, as well as in official rituals. The decoration could indicate that they were given as gifts to an exam candidate.

Stem cups (gao zu bei)
China, Ming Dynasty, Wanli period (1573 - 1620)
H. 10 cm, 12 cm
Vanderven Oriental Art, s-Hertogenbosch, Netherlands

From an earlier period in the Ming Dynasty, early to mid-14th century, is a large conical chrysanthemum bowl with a soft green glaze, decorated with the flower in relief on the interior. Striking green or celadon ceramic wares (qingci) were produced in the Longquan kilns in southern Zhejiang province. Green-glazed wares were held in particularly high esteem in China, as the colour was closely associated with jade – a material greatly valued for its magical properties since ancient times.


Chrysanthemum bowl
China, early Ming Dynasty (1368-1644)
H. 16cm x D. 42cm
Vanderven Oriental Art,s-Hertogenbosch, Netherlands

Robert Hall, London, a leading expert on Chinese snuff bottles, is exhibiting at Fine Art Asia 2015 for the 11th consecutive year. He will present a selection of exquisite snuff bottles and Chinese works of art from various private collections. These include snuff bottles of exceptionally varied forms, styles and materials, made for the consumption of snuff by the Imperial court and affluent Chinese mainly during the Qing Dynasty (1644-1912).

Highlights at Fine Art Asia 2016 include a semi-transparent yellow glass snuff bottle carved in the form of an elephant with a howdah on its back. It is attributed to the Imperial glassworks in Beijing, between 1760 and 1830.


A semi- transparent yellow glass,
¡¥elephant¡¦ snuff bottle
Qing Dynasty, 1760-1830
H. 7.4cm
Robert Hall, London


A puddingstone snuff bottle,
Qing Dynasty, 1780-1850
H. 5.2cm
Robert Hall, London

Another major piece is snuff bottle made of puddingstone, a quartz conglomerate that consists of small pebbles in a chert matrix. The bottle is of rounded form on a flat foot and dates from 1780 to 1850.

Wui Po Kok Antique Co., Ltd, Hong Kong is a prominent gallery specialising in ancient Chinese art including ritual bronze vessels, Buddhist sculptures and early ceramics. At Fine Art Asia 2016 the gallery will present early stone sculptures, including works relating to Buddhism and also some secular subjects. Highlights include a statue of a bodhisattva dating from the Eastern Wei Dynasty (534 – 550 AD), a Buddha head from the Northern Qi Dynasty (550-577 AD), and a statue of a warrior from the Tang Dynasty (618-907 AD).

Statue of a Warrior
Tang Dynasty
( 618-907 AD )
H. 72cm
Wui Po Kok Antique Co. Ltd.,
Hong Kong


Statue of bodhisattva
Eastern Wei Dynasty
¡]534-550 AD¡^
H. 81cm
Wui Po Kok Antique Co. Ltd.,
Hong Kong


Head of Buddha
Northern Qi Dynasty
¡]550-577 AD¡^
H. 23cm
Wui Po Kok Antique Co. Ltd.,
Hong Kong


Priestley & Ferraro Chinese Art, London, established in 1994, specialises in early Chinese art, with a particular focus on the ceramics of the Song dynasty. The Song dynasty and the dynasties immediately preceding and succeeding it were in ceramics terms the most exciting and innovative in Chinese history, with kilns all over China making beautiful and characteristic wares. Apart from ceramics, the gallery also deals in many types of works of art, again with an early focus. These include Song dynasty silver and plain lacquer, Yuan and Ming dynasty carved lacquers, and Ming dynasty jades and cloisonné enamels. Priestley & Ferraro also deals in sculpture, including Han dynasty and Tang dynasty pottery animals and figures and Buddhist stone carving, as well as some paintings on silk.


A Jianyao ¡¥hare¡¦s-fur¡¦ teabowl
Southern Song dynasty, 12th century
D. 12.1cm
Priestley and Ferraro, London


A Longquan celadon pouring bowl (yi)
Yuan dynasty (1279-1368)
L. 17.9cm
Priestley and Ferraro, London


Exhibiting for the 6th time at Fine Art Asia, highlights of Priestley & Ferraro’s exhibition at this year’s fair include a Jianyao “hare’s-fur” teabowl, dating from the Southern Song Dynasty, 12th century, and a Longquan celadon pouring bowl (yi), dating from the Yuan Dynasty (1279-1368).


Barrère Hong Kong Founded in 1969, the renowned gallery Galerie Jacques Barrère is located in the heart of Paris, in the Saint-Germain-des-Prés district. Barrère Hong Kong was founded in 2013 to serve better Asian collectors and to promote and preserve Far Eastern art. The gallery specialises in Chinese sculpture, archaeology, ceramics and decorative arts, as well as Japanese sculpture and porcelain, and statuary art from Gandhara, India and Southeast Asia.

A highlight at Fine Art Asia 2016 is a Tibetan gilt bronze sculpture, ¡§Green Tara¡¨, dating from the 13th to 14th century. The spiritual and compassionate Tara was highly revered in Tibet and Nepal as a female Bodhisattva, considered as the Goddess of Universal Compassion and the manifestation of the actions of all Buddhas.

Also certain to draw attention is a large bronze statue of Guanyu mounted on his horse, dating from the 18th century in China. Guanyu was a famous General during the Three Kingdoms period (220-265 AD), recognized for his military qualities and his moral correctness. He frequently appears in literature, particularly in the historical novel Romance of the Three Kingdoms. The epitome of loyalty and justice, Guanyu played a central role in this important novel during the Song dynasty and he was glorified as a saint. In popular culture, Guanyu incarnated the God of War, the equivalent of Confucius. He was actively integrated into Buddhism as a divinity as well as an alternative God of wealth amongst popular cults. Here he is represented mounted on his horse, wearing heavy armour popular during the Ming period. He gently strokes his long beard with his left hand, whereas his right hand previously held his sword. The pupils of Guanyu¡¦s eyes and those of his loyal horse are inlaid with gold.

Green Tara
Tibet, 13th ¡V 14th century
Gilt bronze
H. 27 cm
Barrère Hong Kong


Statue of Guanyu mounted on his horse
China, 18th Century
Bronze with green patina
H. 186cm
Barrère Hong Kong


Fair Organiser

Art & Antique International Fair Ltd (AAIF) was founded in 2005 by well-known antique Chinese furniture dealer Andy Hei to provide a vibrant new platform in the Hong Kong for the art world in Asia and worldwide. The company is the pioneer of art fairs in Hong Kong: its inaugural fair in 2006 was the first international art fair in Hong Kong in more than a decade.

In 2010, Fine Art Asia was recognised as Hong Kong’s first globally acclaimed non-corporate art enterprise brand, featuring internationally renowned fine art and jewellery exhibitors as well as attracting the world’s foremost collectors.

In 2011, Asian contemporary art collector and promoter Calvin Hui joined Fine Art Asia as Co-Chairman and Director, sharing his knowledge of the Asian art market and his public relations network to enhance and continue the expansion of the fair.

Art and Antique International Fair Ltd has successfully held 12 fairs in Hong Kong to date.




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