Page 49 - jingyatang sculptures march2018

dynasty " gure of Guanyin from Longxing si, Qingzhou see Denise Patry Leidy and Donna 575Ꭱጓठ喑ᆂȨ͚సऑАⴠ䰂㬊㶀ȩ喑
Strahan, Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in the Metropolitan స ⿸ ₤ ट ࢇ ➖ 乕 喑 झ ࡄ 喑 198 3Ꭱ 喑 ㌕ 㮌
Museum of Art, New York, 2010, " g. 13; for a related Northern Qi bodhisattva, see Buddhist
18ȡ㜠䮸᱊喑ₑ䶋䕍׼䷕ᵩ⪒ᰶ⮩ᆂ喑㌇᷊
Sculpture: New Discoveries from Qingzhou, Shandong Province, Hong Kong Museum of
ᰡ◧≮ᯏ喑䲏ღᰡߍᎠহ喑ຯ㺸̭㻭䴠׼
Art, Hong Kong, 2001, cat. no. 69. Similar traits, particularly with respect to the openwork
Ҹ喑㫼Ꮒ➦ᒸ㬊㶀乕喍乕㫼㌕㮌26 128喎喑
tri-lobed diadem and elaborate diadem sash, are also seen on a Northern Qi precedent,
probably from Western Shanxi or Shaanxi province, dating to around 575, included in the 䟅᪴㈭581Ꭱ喑Osvald Sirén ᫤ڣ⎽㜗䮊㺬ᝃ
exhibition Chinese Buddhist Sculpture from the Wei through the T’ang Dynasties, National ⇠ࢄ喑㺸ȨChinese Sculpture from the Fifth
Museum of History, Taipei, 1983, cat. no. 18. In the subsequent Sui dynasty, these decora- to the Fourteenth Centuryȩ喑ࢤ1ࣷ4喑㈽
tive elements developed more % uid lines and the bodhisattva’s face relaxed into a gentler ㈱喑1925Ꭱ喑ృ❵305ȡओ㺸Ⱕ䶋Ҹ᫩ٸݖ
expression, as seen in the carved " gure of Guanyin in the Detroit Institute of Arts (acc. no. ๘㭚㬊㶀ࢇ➖乕喍乕㫼㌕㮌1962 162喎Ƞ๔
26.128) dated by inscription to 581, and attributed to Shaanxi or Henan province by Osvald 䘪ᰰ㬊㶀ࢇ➖乕喍乕㫼㌕㮌42 152 5aࣷb喎
Sirén in Chinese Sculpture from the Fifth to the Fourteenth Century, vols 1 and 4, New York, ࣷѺ᫩৵҈๔Ⴅ͸ϋ⦌eMe㫖ٸ߿ࢇ➖乕
1925, pl. 305. Related sculptures in the Cleveland Museum of Art (acc. no. 1962.162), the
喍1943 53 43喎喑В̷҉ҸА㶕䮸׼⮩ᆂ䷕
Metropolitan Museum of Art (acc. no. 42.152.5a, b), and the Arthur M. Sackler Museum
ᵩ喑䪸㛶ᴁহ喑ᰡ䋕㜗♣喑ۍ丫㇫઱喑ᄣ׼
at Harvard University (acc. no. 1943.53.43) represent the next phase in the Sui Buddhist
㢷௡ȡₑ䶋➦ᓢह㺸᱙৮喑ᩲ䁶ڣϓắᆙڙ
sculpture wherein the bodhisattva’s features soften, re% ecting a more naturalistic quality,
and the rhythmic carving of the elaborate diadem serves to exalt the deity as a spiritual ٰ600Ꭱጓठȡₑ⽛䷕ᵩᐣ㎹㜠䮸᱘喑㺸̭
exemplar. These are precisely the qualities seen in the present example, suggesting that 䞲㤖㫖⿸׼Ҹ喑䲏ᒏȠۍ丫䓾ह喑䠱Ძ̶࣌
th
the sculpture was carved around or following the turn of the 7 century. This approach to 䗻喑Ȩ͚సϼ᪆ᒘݨटⵁ⾣ : ➦㗫䛾䞲ϼࣷ
" guration continued through the end of the Sui dynasty, as evidenced by a bronze standing 㗳ⴠ⿌䕍׼Вใ㗮ⴠϼ㗫㗤㗄㗦㗮䀃㔰ȩ喑
bodhisattva with a nearly identical diadem and face shape, published in Saburo Matsubara, Პϙ喑1966Ꭱ喑ృ❵233ȡ
Chinese Buddhist Sculpture: A Study Based on Bronze and Stone Statues other than from
䮸 А ⴠ 䰂 䕍 ׼ ⩇ ◧ ⣺ 㒂 ȡ ज ℁ ̭ Ⱕ 䶋 䮸
Cave Temples, Tokyo, 1966, pl. 233.
仃 ׼ Ҹ喑 ᫤ ڣ ⎽ 㜗 ᆞ 㺬 喑 Ⱄ 㟦 呸 ᩣ 㫼 喑
Stone sculptures of the Sui dynasty are rare. A closely related carved limestone head dated
ᆂȨBuddhist Sculpture from Ancient
to the Sui dynasty and attributed to Shanxi province, formerly with C. T. Loo, was exhibited
Chinaȩ喑J J Lally Co 喑㈽㈱喑2017Ꭱ喑
in Buddhist Sculpture from Ancient China, J. J. Lally & Co., New York, 2017, cat. no. 10. A
㌕㮌10ȡओ㺸̭ⴠ䰂ᒖ㎗㤖㫖׼喑䲏ᒏݨ⪘
polychrome-painted limestone head of a bodhisattva, with a similar face shape but more
elaborate coi* ure and simpli" ed hair ornaments, sold in our Hong Kong rooms, 5th April Ⱕ䶋喑倛倨㍮㍌喑倛丫⪒ㅎ喑ਜ਼仆⍜㬴ჹ℁
2016, lot 2871. 2016Ꭱ4ᰵ5ᬒ喑㌕㮌2871ȡ

SOTHEBY’S 47