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increasingly popular from the Song
                                                                     dynasty (960-1279). Li Song in ‘From
                                                                     the Northern Song to the Qing’, Chinese
                                                                     Sculpture, New Haven, 2006, pp. 389,
                                                                     suggests that during the Song dynasty,
                                                                     various Buddhist schools were eager to
                                                                     trace their lineages to Shakyamuni; thus
                                                                     luohan, with their direct connections
                                                                     to the Historical Buddha, became the
                                                                     ultimate iconographic bridge to the
                                                                     Indian founders of Buddhism. Also with
                                                                     the growing patronage of Buddhist
                                                                     iconography in exchange for spiritual
                                                                     merit, luohan figures of imposing
                                                                     size and realistic physiognomy were
                                                                     increasingly produced in various
                                                                     mediums, such as ceramic, stucco and
                                                                     stone. They would have been displayed
                                                                     in groups of sixteen, eighteen or even
                                                                     five hundred in temples and caves to
                                                                     encourage devotees to reach a state of
                      1
                                                                     deep meditation.

                      Compare a closely related head of a luohan, in the Museum Volkenkunde in Leiden, illustrated in Hai-wai
                      yi-chen / Chinese Art in Overseas Collections: Buddhist Sculpture 1, Taipei, 1986, pl. 14 (fig. 1). Further
                      stone heads of luohan include a smaller limestone example sold in our Hong Kong rooms, 5th April 2016,
                      lot 2835; and two smaller marble heads sold in these rooms, the first, 23rd March 2004, lot 630, and
                      the other, from the collection of C.T. Loo & Co. and J.T. Tai & Co, 22nd March 2011, lot 270 and again, 19th
                      September 2011, lot 319. See also a head of a luohan attributed to the Ming dynasty, in the Metropolitan
                      Museum of Art, New York, accession number 60.74.










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                                                              60 74ȡ


                      Fig. 1  A closely related head of a luohan, in the Museum Volkenkunde, Leiden. Collection Nationaal Museum van Wereldculturen. Coll. no.
                      RV-3066-1
                      ృ̭  ⴠ䰂㒲⑏仃׼ 㤷䵀స⿸ℾ᫼Ⴅࢇ➖乕 స⿸̓⩹᪴ࡃࢇ➖乕喑乕㫼㌕㮌RV-3066-1


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