Page 34 - jingyatang sculptures march2018

ABOVE
Inscription on the present lot
ɪ
͉྅თ˖

As seen on this stele, the development of Buddhist sculpture of the Eastern Wei can be Პ偼҈䕍׼͸⮩ᆂ喑็ឬݺݣ喑♣㉽Ỹࣷ䷕ᵩ⪒ᰶ䂷ࡃȡ
described as a slight modi" cation of iconography and style from previous periods. The " g- ҈׼倁ᙸ䐰ݺ᱌ᘵߍ䅽⯵喑ज㺸ₑ᭯䰂ൾ䛺吋ጟᓋ㌇᷊䑶
ures are fuller in form, which reveals the growing interest in form over line, and a masterful
㜠ᒏᙸ喑ह᭯ڣ倅⊛䰂᝸∂喑ᄴٶ㌇䕸⩕᫩᪡倁Ỹృ͸
ability to incorporate the play of light in the overall composition through high-relief model-
͚喑ᄓ◧㇫ໆȡ᱙৮᝭䰂丈๖喑Ӭ◧ᰭҠᄓҸ喑䏘ᒏ䅽␬
ing. This e! ect is most noticeable on the apsaras, the curves of their bodies and # owing
཭ཉ喑㶐፣䑂⯵䷱♣喑Ảჹᒸࠂ㒻ᙌ喑ߍ͸ٶᒞⰥ᭍喑ᘵ
scarves creating a wonderful rhythmic quality which creates a lively interplay of light and
shade that gives it a # ickering quality. A limestone fragment of similarly carved apsara, in 䶜Іϧ䱵ࠂ䪰✺喑᥃ᰠ⩌༬ȡह䶋丈๖喑ज㺸̭ⴠ▝ⴠ䰂
the Jingyatang collection, is published in Bore baoxiang Jingyatang cang Zhongguo fojia ⃅ⶾ喑ϓᆙ䲉䯲യڥ㫼喑䠱᫩Ȩ㝙㠒ᄣⰥe䲉䯲യ㫼͚స
yishu /The Treasures of Chinese Buddhist Sculptures, Taipei, 2016, pl. 7. ҈׼㬊㶀ȩ喑झࡄ喑2016Ꭱ喑ృ❵7ȡ
Due to the regional nature of stele production, carving styles of the brief Eastern Wei period Პ 偼 ̭ ᱊ ₤ ᭯ 䰃 ⴚ 喑 ♣ ఍ ڣ ౝ ഌ ➦ ᓢ 喑 ₑ 䶋 䕍 ׼ 䰂
vary noticeably; compare related dated examples, such as a larger limestone example with ݨ ䷕ ᵩ ็ ᰶ ጛ ⪝ ȡ ह ᭯ ᱌ ҉ Ҹ ज 䇴 ࣰ ⚔ 喑 㺸 ̭ ⇠ ࡄ
similar leaf-shaped mandorla, dated to 537, attributed to Hebei province, from the John ౝ࡭ⴠ▝ⴠ䕍׼Ҹ喑ϓ丫㥶ᒏ㗹ٶ喑ݨ๖ᎠఈᎡ䟅喑
Huntington Art and Polytechnic Trust and now in the Cleveland Museum of Art, included in ◧ John Huntington Art and Polytechnic Trust 䯲㧱喑
the exhibition The Footsteps of the Buddha. An Iconic Journey from India to China, Univer-
⤫ႅٸݖ๘㭚㬊㶀ࢇ➖乕喑ᆂ͓ܷ᫩Ȩ∂Ⱕנⱌ :ऑ
sity Museum and Art Gallery, The University of Hong Kong, Hong Kong, 1988, cat. no. 93;
А ҈ ᪆ 㬊 㶀 ȩ 喑 仆 ⍜ ๔ Ⴅ 㒻 㶀 ࢇ ➖ 乕 喑 仆 ⍜ ๔ Ⴅ 喑
and an alabaster stele of similar size, but carved with some openwork in the background,
仆 ⍜ 喑 1 9 8 8 Ꭱ 喑 ㌕ 㮌 9 3 喠 ओ ज ℁ 䐰 ̭ ⑏ ⮪ ⢶
dated to 544, in the Metropolitan Museum of Art, New York, included in the exhibition Chi-
nese Buddhist Sculpture from the Wei through the T’ang Dynasties, National Museum of 䕍 ׼ Ҹ 喑 ㈭ ₓ Ⴧ ι Ꭱ 喑 ᅧ ᄥ Ⱕ 䓾 喑 㗹 ᮜ 䘕 ܳ
History, Taipei, 1983, cat. no. 11. A similar stele depicting the Buddhist triad and apsaras, 䤑 ⾧ 喑 ⤫ 䇜 ๔ 䘪 ᰰ 㬊 㶀 ࢇ ➖ 乕 喑 ㈽ ㈱ 喑 㦄 䠱 ᫩
but missing the base, in the Art Gallery of New South Wales, Sydney, is included in Liu Yang, Ȩ͚సऑАⴠ䰂㬊㶀ȩ喑స⿸₤टࢇ➖乕喑 झࡄ喑1983
‘The Discovery of Mass: a footnote to the stylistic and iconographic innovation in Chinese Ꭱ 喑 ㌕ 㮌 1 1ȡ ₑ ใ 喑 䖱 ज ℁ ̭ ҈ ̶ ᄷ ׼ ࣷ 丈 ๖ Ҹ 喑
Buddhist sculpture’, Orientations, September 2000, " g. 2. Ꮒ Ꮤ 㑧 ๞ 喑 㫼 ᫩ ᫝ ࢄ ༮ ❫ ธ 㒻 㶀 乕 喑 ᖶ ᅩ 喑 ృ 䐶 ᫩
Liu Yang喑<The Discovery of Mass a footnote to the
stylistic and iconographic innovation in Chinese Buddhist
sculpture>喑ȨOrientationsȩ喑2000Ꭱ9ᰵ喑ృ2ȡ

32 JINGYATANG: TREASURES OF CHINESE BUDDHIST SCULPTURE