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aturalistic and realistic qualities in Buddhist sculpture were particularly sought-after
during the Song dynasty. The ‘dry lacquer’ technique, as seen on the present head, lends
Nitself to expressive sculpture, and was capable of producing religious sculpture with
unprecedented levels of realism that no other material or technique could evoke.
The dry lacquer process involved first sculpting the figure in clay over a stick-like wooden model. Patches
of lacquered hemp were then pasted onto the clay. These were then covered with further lacquer layers,
which could be sculpted in greater detail and carved to give expressive qualities. Finally the surface was
painted in polychrome pigments. Once completed, the original construction of wood and clay were
hollowed out and removed, leaving only the fragile skin of hemp and lacquer. The number of extant Song
dynasty religious images made in this complex and sophisticated technique is relatively low, largely due
to the time-consuming and demanding production process as well the vulnerability of material.
Compare a related dry lacquer head of a luohan in the Museum of Fine Arts, Boston, formerly in the
collection of Charles B. Hoyt, included in the exhibition The Charles B. Hoyt Collection. Memorial
Exhibition, Museum of Fine Arts, Boston, 1952, cat. no. 533. A slightly later head, attributed to the Liao
- Jin period, in the Nelson Atkins Museum, Kansas, is illustrated in Laurence Sickman and Alexander
Soper, The Art and Architecture of China, Baltimore, 1960, pl. 82.
ᄘᄓ䷕ᵩ҈喑ౕႸАᅑऄ₎䓻ȡ᱙⩕㉢ ℁䐰̭㒲仃喑⤫ႅ∏ธ䵀㒻㶀ࢇ➖乕喑ܧ㜗
Ϋጒ㬊喑㜴䕍ჹ㶕⤫߈䷕ᵩ⍫♣२व喑 Charles B Hoyt ᩣ㫼喑ᰫᆂȨThe Charles B
Ⴤ᪆䕍ಸᄘᄓᏓ喑ڣЃᱽ䈗ࣷ∂䰐ࣷȡ Hoyt Collection Memorial Exhibitionȩ喑∏ธ
䵀㒻㶀ࢇ➖乕喑1952Ꭱ喑㌕㮌533ȡओ℁̭Ҹ喑
Ϋ㉢䊤В᱕ᴞ◧㩷喑−ൾ҉喑䇩㭥叨ጰВ
А䖩㜠䛾喑⤫ႅൗ㫖㈺❫䖉 䭬➦䛾㬊㶀ࢇ
◧㗻ȡᓖ䛺喑ጔጒ䰂喑᪤ᒖ⌨㞟喑ᰭᒹޟ䪸㗹
➖乕喑ృ䐶 Laurence Sickman ࣷ Alexander
䲏ःܧ᱕㩷−ಜ喑ग久㪱叨ᆑ喑㙘㗻ȡₑ∂ጒ
Soper喑ȨThe Art and Architecture of Chinaȩ喑
∂㍮㸴喑㸪҉㞞䝲喑๔䇨ক」喑ߍ̷Ϋ㏃ጔ喑ᭀ
ጡ❫⮱ᦖ喑1960Ꭱ喑ృ❵82ȡ
᤺ซ喑ᩲₑ⤫ႅႸАჄ᪆㉢Ϋ䕍⩇◧僛㺸ȡ
12 SEPTEMBER 2018 SOTHEBY’S NEW YORK 153