Page 27 - Importan Chinese Art Christie's May 2018

Such platforms with recessed panels also appear in a couch also has recessed panels. Although it has no fgure
number of Buddhist contexts, especially from the Liao upon it, it was obviously intended for a reclining fgure
area. As Dingzhou was near the border between Northern of some kind. Of particular signifcance in relation to the
Song and Liao territory, it is not surprising that there current pillow and related Ding ware pillows, are two
should have been cultural exchanges between the two mid-11th century Liao dynasty painted marble recumbent
states that can be recognised in some Ding wares. Harold Buddha fgures, which were found in the imperial tombs
Mok has noted that: ’Given their frequent contacts with at the White Pagoda in Balin, Right Banner, Qingzhou, in
Han Chinese living in Liao territory and those under the the 1970s. One of these is illustrated in Gilded Splendor
neighbouring Northern Song, a degree of sinicization of – Treasures of China’s Liao Empire (907-1125), op. cit., pp.
the Qidan naturally followed. Neither were the Chinese 254-7, no. 67. The platform on which this stone fgure
who lived in Liao territories impervious to Liao culture.’ rests also has similarly recessed decorative panels to
(see ‘Theme and Culture: Wall Paintings in Liao Tombs’, those seen on the current Ding lion pillow. Interestingly,
Noble Riders from Pines and Deserts – the Artistic Legacy there are eight lions decorating the panels on the
of the Qidan, J. So (ed.), Hong Kong, 2004, p. 21). A Liao Buddha’s couch, or bier. The Buddha represented is
moulded ceramic sancai-glazed platform couch, with Shakyamuni, who is also known as Shakyasinha ‘lion of
a cylindrical pillow placed at one end is in the Liaoning the Shakya clan’. Perhaps the lion on the current pillow
provincial museum (illustrated in Zhongguo wenwu jinghua not only had auspicious meaning but was also a reference
daquan, Taoci juan, Tabei, 1993, p. 167, no. 570. This glazed to Shakyamuni.

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