Page 81 - Fine Chinese Art Bonhams London May 2018

Fig. 1

explanations for their meaning are offered in the folklore of different pedestals. The principal contrast is yellow which is used for the
East Asian countries. However, their origin and true significance lions’ lips, for the palate roof of the open-mouthed male lion, and
are now obscure. to outline the musculature of their thighs and shoulders. Yellow
also colours manes, their below-chin hair, eyebrows and the
Similarly, the ‘one mouth shut and one open’ convention is inner surface of ears. In places, the yellow colouring is delicately
seen often in guardian figure pairs, and explanations are offered demarcated from the blue glaze alongside by a fine shadow
throughout Asia for its significance. Many agree that ‘mouth underline in turquoise green, which in places has run on firing
open’ signifies vocalisation of the first character, ‘a’, of the and colourfully relieved some otherwise solid blue areas with
Sanskrit alphabet, and ‘mouth shut’ the last, ‘um’, and that subtle vertical trails of turquoise. Other colour-detailing includes
together they represent the sound ‘om’ which expresses the a bluish-white for the teeth and the sclera of the eyes, whilst dark
‘Absolute or Ultimate Reality’ in the Sanskrit mantra. Another aubergine is used for fur in shadow, behind the cheek lobes and
interpretation is that the two sounds represent the ‘first and last on the underside of limbs. Aubergine is used also for the body fur
breath’ or the beginning and end of life whilst, in some Japanese of the lioness’ cub and for her mate’s brocaded ball which is neatly
traditions, a third suggests in a similar vein that the male lion tied with green and blue ribbons. The lions’ eye-pupils are ‘dotted’
inhales whilst the lioness exhales, symbolising ‘life and death’. with a very dark, almost black aubergine and a lighter hue is used
for the animals’ prominent collars which are finely decorated with
More compelling are the astonishing eyes of the lioness. Whilst her rosette-shaped studs and bells in a contrasting yellow.
right eye stares fixedly ahead, her left eye is swivelled rearwards
as if re-directing her gaze towards, or to some point behind, The pedestal supporting the lioness has an old repair which has
her mate. This strabismus is clearly intended but its meaning is discoloured, but that of the male lion displays clearly the original
unclear. Moreover, the skilful modelling of the animal’s head and colour scheme, which is predominantly blue in background with
facial contours renders this intriguing and unusual feature almost applied decoration in yellow. The upper face of each pedestal
unnoticeable at first sight to the casual frontal observer. is shaped as a recessed tray that receives the flat register-plate
on which the lion is mounted. This measures 60cm x 70cm (24in
Remarkable also is the tightly coiled ‘coiffure’ of the lions’ manes x 28in) and its low vertical sides are decorated with a band of
which refers strongly to the archaic influence of Greco-Buddhist yellow peonies relieved with green detailing against a blue ground
art from Central Asia in the early days of Buddhism in China in of foliage, a decorative scheme which is mirrored on the lowest
the 5th century. band at the base of the pedestal.

Azure blue dominates the glaze colour-scheme, covering much The recessed waists of the pedestals bear on each face a
of the body area of the lions and a significant proportion of their square panel fringed with yellow clouds depicting an animal

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