Page 79 - Sotheby's New York Chinese Jade Auction September 13, 2018
P. 79

Damo in China, Daruma in Japan and Bodhidharma in India,
                                                     whose teachings eventually became the foundation of Chan (Zen)
                                                     Buddhism. Damo is often depicted standing barefoot on a reed
                                                     leaf, representing the episode when he crossed the Yangtze River
                                                     in this manner to evade pursuers. But here he is shown seated in
                                                     contemplation in a cave, referring to the nine years Damo spent in
                                                     a cave, facing a wall and meditating. The inscription carved on the
                                                     cliff face above is an imperial poem by Emperor Qianlong titled
                                                     Damo mian bi tu (Meditation of Damo), which aptly describes the
                                                     scene (Fig.1). This representation is also seen in Dehua fgures of
                                                     Damo, where he is shown seated on a mat with his robe pulled
                                                     around him in a manner similar to that of the present fgure. These
                                                     Dehua fgures include one in The Metropolitan Museum of Art,
                                                     New York, illustrated by Denise P. Leidy, Donna Strahan, et
                                                     al., Wisdom Embodied, Chinese Buddhist and Daoist Sculpture in the
                                                     Metropolitan Museum of Art, New York, 2010, p. 162, and another
                                                     sold at Christie’s New York, 20 March 2014, lot 162.
                                                     The present carving is related to other jade carvings that show
                                                     a luohan seated in a grotto or carved in the side of a mountain.
                                                     Carvings of this type are often of late Ming or early Qing date.
                                                     Jessica Rawson in Chinese Jade from the Neolithic to the Qing, London,
                                                     1995, pp. 410-11, notes that these carvings may have been inspired
                                                     by a woodblock print in the eighteenth-century catalogue, Gu yu
                                                     tu pu, illustrated p. 411, fg. 2, where a luohan (possibly Damo) is
                                                     shown seated on a mat in a setting of rocks and clouds. Rawson
                                                     goes on to mention the “close relationship”  of these jade carvings
                                                     to the painting tradition that showed luohans “who retreated to
                                                     meditate in mountainous landscapes.” These paintings sometimes
                                                     included an inscription commenting on the scene, a practice that
                                                     most likely infuenced the jade carvers who sometimes included an
                                                     inscription on a smooth rock face of the mountainside.
































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