Page 94 - Sotheby's London Important Chinese Art Nov. 2019

Standing majestically against a large and finely incised This figure depicts Padmapani, also known as the “lotus
mandorla, this figure of the bodhisattva Padmapani bearer”, a manifestation of Avalokitesvara, or Guanyin,
ranks among the largest gilt-bronze sculptures from the much-revered bodhisattva of Compassion and Mercy.
the Northern Wei dynasty remaining in private hands. The cult of Padmapani and this distinctive iconography
Its serene expression and captivating smile, voluminous emerged in the late 4th and early 5th century, and
body and powerful pose, are testament to the gradual continued to be popular until the Tang dynasty (618-907).
development of an indigenous Buddhist style in northern In this manifestation, Avalokitesvara, who is credited
China. the creation of all things animate and is believed to
impersonate the power of creation, is depicted majestically
Under the patronage of the ruling Northern Wei dynasty,
founded by the Tuoba clan of the Xianbei ethnic group, standing against a flaming mandora to display his
Buddhism flourishing in China. The imperial family of strength. The bodhisattva is dressed like a prince, wearing
this foreign dynasty actively supported the religion a necklace and a tall crown, and holding a lotus flower, a
and regarded it as a means to legitimise their rule in a sign of his purity and spiritual elevation.
society dominated by Han Chinese values. Buddhist This piece appears to be among the largest examples of
images proliferated in this period, and different phases the bodhisattva Padmapani from the late 4th and early
of development can be discerned. The influence of 5th century, and only one larger gilt-bronze figure appears
Gandharan and Central Asian sculptures, at first taken as to be known: measuring 35.8 cm in height, and dated by
models to follow, gradually developed into a style that also inscription to 498, in the Nitta collection, illustrated in Ji
took into consideration Chinese aesthetic language. During Chong Jian, The Buddhist Bronzes, Taipei, 1994, pl. 73. A
the reign of Emperor Xiaowen (r. 471-499), this process slightly smaller figure, with a cyclical date corresponding
of sinicisation accelerated as the capital was moved from to 504, illustrated ibid., pl. 80, was sold at Christie’s Hong
Datong to Luoyang, the former capital of the Eastern Han Kong, 28th/29th October 2001, lot 503; and another with
dynasty. Furthermore, the Emperor actively sponsored a scarf draped around a shoulder, dated in accordance to
the assimilation of Han Chinese costumes on members 514, in the Shanghai Museum, is published ibid., pl. 82.
of the Tuoba clan, a trend that continued under his A much smaller figure dated to 501, is illustrated in
successor, Emperor Xuanwu (r. 500-515) when this figure Matsubara Saburō, Chūgoku Bukkyō chōkoku shiron
was created. Dated in accordance to 511, this sculpture [Historical survey of Chinese Buddhist sculpture], Tokyo,
carries stylistic elements that represent this artistic 1995, vol. I, pl. 107, together with a figure lacking the
shift. The figure’s voluminous body and its aristocratic mandorla, in the Asian Art Museum of San Francisco, pl.
pose display the continued influence of Gandharan and 108b; another also dated to 501, in the Shanghai Museum,
Central Asian imagery, while the large flaming mandorla is published in Ji Chong Jie, op. cit., pl. 77, together with
and the bodhisattva’s blissful smile, which wold have one dated in accordance to 500, pl. 78; one dated to 499,
made this figure more appealing and accessible to a in the Palace Museum, Beijing, is illustrated in Classics
Chinese devotee, are characteristics of early 5th century of the Forbidden City. Sculptures in the Collection of
sculptures. The tall, thin body evidence an increased the Palace Museum, Beijing, 2014, pl. 127; and a further
interest in verticality, while the crisp rendering of the sculpture of Padmapani, with a cyclical date corresponding
figure’s skirt that falls in regular pleats and the incised to 512, was sold at Christie’s London, 16th June 1986,
flames on the mandorla are endowed with a rhythmic, lot 26. See also a later example, dated to 544, from the
almost calligraphic quality.
collection of A.F. Philips, sold in these rooms, 30th March
1978, lot 34.

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