THE ARTS/ART
NOVEMBER 16, 1998 VOL. 152 NO. 20
The Heart of Asian Art
London has the world's greatest concentration of Oriental
art dealers, and a new show is proving it
By JULIE K.L. DAM/LONDON
Where is the center of the Asian art market? Not in China, where
there's little ancient art remaining except what's still
undiscovered, buried underground. Not in Hong Kong, though
auctions are increasingly being held there. And not in New York,
though the city's annual International Asian Art Fair is a
mainstay of the art collecting calendar. "It's not generally
recognized," says London gallery owner Michael Goedhuis, "but
anyone interested in buying Asian art--from Islamic to East
Asian--has to come to London." While there are only a handful of
major dealers in New York, some 50 of London's Asian art
dealers, together with the city's museums and auction houses,
will be showing off their wares in "Asian Art in London," a
wide-ranging program of events and exhibitions.
The abundance and variety of London's Asian art--testament, of
course, to Britain's history as a colonial and acquisitive
power--is readily demonstrated by the museum exhibitions held in
conjunction with the fair. On Nov. 17, the Royal Academy of Arts
will open on the first exhibition ever of 100 pieces of Imperial
Chinese ceramics, dating from the 12th to 18th centuries, from
the private collection of Au Bak Ling, who has never before
published or exhibited them. The British Museum offers "Minakar:
Spun Gold and Woven Enamel," a show of contemporary textiles
from India. The Brunei Gallery at the School of Oriental and
Asian Studies has on show "Islamic Art and Patronage: Treasures
from Kuwait."
While the most familiar Asian art is perhaps Chinese porcelain
or Japanese calligraphy, London also has galleries specializing
in Indian, Southeast Asian, Himalayan, Korean and Islamic art,
encompassing 3,000 years of these ancient cultures. The more
unusual items to be seen during "Asian Art in London" include
Southeast Asian gold jewelry from the Hindu and Buddhist
civilizations of the 7th to 15th centuries, at Danart; a circa
12th century Tibetan sculpture of the Bodhisattva Maitreya, at A
& J Speelman; an 18th century inlaid lacquer cabinet from Korea,
at Gerard Hawthorn; 15th century Islamicized Iranian copies of
the archetypal Chinese blue and white porcelain, at Axia East
Christian & Islamic Art. The major auction houses--Sotheby's,
Christie's, Phillips and Bonhams--are planning sales in
November, primarily of Chinese and Japanese art.
For those who feel not quite ready to make a purchase, there are
educational events: a three-day seminar at Sotheby's Institute
discusses the range and market for Chinese porcelain, and a
lecture at Christie's addresses the problem of authenticating
Asian art.
The events will also celebrate the current state of the arts in
Asia. Though modern Asian art has yet to win widespread,
unanimous acclaim, interest in it is growing. Goedhuis, who will
be staging a show of three contemporary Chinese artists in
November, notes that a Chinese painter, Gu Gan, has followed the
likes of Picasso and Warhol in having his work chosen to grace a
Mouton Rothschild wine label.
The organizers of the "Asian Art in London" week insist that
they are not trying to replace the New York Asian Art Fair,
which takes place in March--that in fact both events are needed
for the common goal of bringing greater prominence to this
growing market. And while the buyers of Asian art have
traditionally been Americans, who are the biggest consumers of
all art, Asians are now giving them a run for their money: other
than the Japanese demand for Impressionist paintings, which has
dropped along with the country's economy, the Asian art market
has so far been unaffected by the economic crisis. "I believe in
the next 20 years we will see an absolutely volcanic increase in
the buying of Chinese art by the Chinese themselves," says
Goedhuis. He adds, "My prediction is the most expensive art in
the world won't be Western in 20 years; it will be Chinese art."
That would mark a revolutionary change in the art world. But one
thing would remain the same: the place to buy it will still be
London.END