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Antiques have long underpinned Fine Art Asia, which began in 2006 as the International Asian Antique and Art Fair. As in previous years, they remain a principal focus. Spanning diverse periods, media, categories and origins, the ensemble presented at the fair is exceptional—an enduring heritage sustained by long-standing exhibitors and invigorated this twentieth anniversary by distinguished newcomers.
A gold mythical beast crown ornament
Warring States period (475-221 BC)
H. 8.5 cm
Hong Kong Bao Pai International Limited
Among them, Hong Kong Bao Pai makes its debut at the 2025 edition with a remarkable Gold Mythical Beast Crown Ornament, dated to the Warring States period (475–221 BCE). Hammered from a single sheet of gold using sophisticated repoussé techniques, the piece epitomises the imaginative breadth and consummate craftsmanship of the grassland nomadic cultures that flourished along China’s northern frontiers. Its iconography is striking: an eagle-like hooked beak; four antler-like branches spiralling upward, each tipped with a minute bird’s head; and a compact, crouching bestial body. This surreal synthesis—often described as “antlers sprouting birds”—encapsulates the symbolic density and animistic vision of steppe art. Taut musculature, gripping claws and a rope-patterned spine convey latent power, while spiral cloud motifs, scaled textures and a tightly curled tail complete the dynamic silhouette. Beyond aesthetic brilliance, the work illuminates the reciprocity of early exchanges between Chinese states and the steppe world—challenging narratives of unbroken conflict—and recalls moments such as King Wuling of Zhao’s adoption of “Hu” attire and mounted warfare, as well as the resonance of Xiongnu shamanic imagery within ancient Chinese visual culture.
An extremely rare amber-glazed Sassanian metal-shaped ‘musicians’ flask
Northern Qi Dynasty (550-577)
H. 11.7 cm
Provenance: The Sze Yuan Tang Collection; Sotheby’s London, 04 November 2020, lot 208
Judetang Fine Arts Co., Hong Kong
Judetang Fine Arts Co., another new participant, introduces an exceedingly rare amber-glazed Sassanian metal-shaped “Musician” flask, notable for its vibrant glaze and distinctive form derived from West Asian metalwork. Its moulded decoration centres on honeysuckle motifs and musicians, with a central medallion bearing a human face influenced by Khotan pottery. Unearthed at the Xiangzhou kiln in the Anyang region of Henan in 1974—one of northern China’s earliest centres for celadon and white porcelain—the piece embodies the cosmopolitan milieu of the Northern Dynasties to Sui period, when Hu communities, notably Sogdians arriving via the Silk Road, enriched the Central Plains with West Asian art, music and ritual. Comparable finds, including four celebrated yellow-glazed flasks from the 1971 Fan Cui tomb, attest to the vivid Sogdian and West Asian idioms that distinguished Xiangzhou wares. In this context, the Northern Qi era, though brief, emerges as a profoundly syncretic moment—its cultural fabric woven from Iranian, steppe and Buddhist threads—reshaping Chinese art in ways akin to the Warring States’ engagement with the northern steppes.
Buddha Sakyamuni
West Tibet
15th century
Gilt copper alloy with copper, silver, and turquoise
H. 32.1 cm
Rossi & Rossi, Hong Kong/London
Marking two decades of the fair, it is also apt to honour those who have sustained its vision. Rossi & Rossi—established in London and now based in Hong Kong—has participated since the inaugural 2006 edition and this year presents a distinguished fifteenth-century Tibetan statue of Buddha Shakyamuni. The figure, with an urna designed for turquoise inlay, sits dignified upon a lotus pedestal, the left hand in meditation and the right in bhumisparsha mudra, evoking the moment of victory over Mara on the threshold of enlightenment. From the 7th century onward, Tibetan Buddhism fostered a vibrant tradition of religious art through the localisation and assimilation of Indian models, evolving into a distinctive form that later flourished under Yuan patronage and remained influential through the Ming and Qing dynasties. As it entered China proper, Tibetan Buddhism established itself as a parallel force alongside Han Buddhism, enriching the broader tapestry of Chinese religious and artistic heritage.
A bamboo ‘chilong’ parfumier
Ming Dynasty (1368-1644)
H. 14.9 cm
Provenance: Yungu Zhai, Liuli chang, Beijing, 1950s; Wang Shixiang Collection (1914-2009)
Maria Kiang Chinese Art, Hong Kong
Another steadfast supporter, Maria Kiang Chinese Art, has demonstrated an unwavering commitment to Fine Art Asia since the 2008 edition. This year, the gallery presents an exquisite late Ming (1368–1644) bamboo ‘chilong’ parfumier, intricately reticulated from a single hollow cylindrical section. Two confronting chilong—serpentine dragons—coil seamlessly around the exterior: one with wrinkled forehead folds, the other with a curled tongue, protruding eyes and furrowed brows. Each bears a central horn and a finely carved mane, its bifid tails rising along the spine. Bordered by bands of foliate scrolls and fitted with wooden stoppers at either end, the vessel has developed a deep, lustrous reddish-brown patina.
In Chinese mythology, the chilong—often linked to the nine sons of the dragon—signifies auspicious blessing and protection. Frequently deployed in traditional art to invoke prosperity and ward off misfortune, the motif here fuses talismanic potency with consummate craftsmanship, underscoring the parfumier’s ceremonial refinement.
Marking its 20th anniversary in 2025, Fine Art Asia continues to present museum-quality antiquities of exceptional calibre—ranging from ornaments and seated Buddhas to parfumiers and flasks—across regions and cultures that include northern China, Tibet, the Eurasian steppes and Sogdian spheres. Spanning epochs from the Warring States to the Ming dynasty, the fair’s offerings affirm a living continuity: long-standing partnerships are renewed even as new participants join, ensuring Asia’s artistic heritage resonates within an increasingly global context.