Chinese Buddha Artifacts Selection

A SELECTION OF CHINESE BUDDHA ARTIFACTS IN THE BARAKAT COLLECTION

Pair of Song Dynasty Panels Featuring Scenes from the Life of the Buddha – AM.0346 (LSO) Origin: China Circa: 960 AD to 1276 AD Dimensions: 18.1” high x 51.18” wide x 5.12” depth Medium: Stone

These outstanding sculptural panels are Song Dynasty representa5ons of the Lotus Sutra, which was compiled in the first century AD and is one of the most important texts in Buddhism. The pieces concern a series of parables that are being outlined by Buddha, who sits to the right surrounded by his followers. His words are recorded in the columns of text on each side of the pieces, and are represented pictorially in the centre. There are seven parables in the Lotus Sutra, all embodying the essence of Mahayana Buddhism and the aDainment of Buddhahood. They concern humble people who rely upon the guidance and wisdom of an older, paternal figure, and in so doing learn the path of righteousness and thus aDain equilibrium with the cosmos. These examples date to the Song Dynasty (960-­‐1279 AD), which is oOen referred to as the Third Great Flowering of Chinese Culture.

The Lotus Sutra, also known as the Sutra on the White Lotus of the Sublime Dharma is one of the most influen5al Mahayana sutra in East Asia, and was compiled in Kashmir in the first century AD. It represents an address made by Buddha in his later life, and which was then stored away for half a millennium in the realm of the dragons un5l humankind would be able to comprehend it. It was first translated from Sanskrit into Chinese in c.209 AD. It made several landmarks in Buddhism, notably the concept of the Buddha’s eternal nature, its skilful use of parable, and the fact that it is one of the first sutras to employ Mahâyâna ("Great Vehicle") Buddhism.

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Buddha is seen to be a father, essen5ally immortal in the sense of con5nuing influence and power even aOer his earthly demise.

It repudiates emp5ness (úûnyatâ) as the ul5mate vision, and states Buddhic Wisdom to be a transcendental, bliss-­‐bestowing state. The tenets of full Buddha-­‐hood are the understanding of truths expressed in the Lotus Sutra, and thus a more fundamental understanding of the cosmological order that results in the eleva5on of lesser beings to full Buddha status. It is highly significant in that it also implies that all religious paths may lead to this enlightened state, thus opposing doctrinal confronta5on.

Representa5ons of the parables follow certain conven5ons for the placement and representa5on of the most important elements – especially the appearance and posi5oning of the Buddha, the text and the parable story. It is thus not possible to iden5fy the parables in all cases. The seven parables are described below:

1) The carts and the burning house: The rich man en5ces his children from a burning house by offering them carts laden with objects with which to play. When they emerged unscathed, they were greeted with carts laden with objects far beyond their expecta5ons.

2) The wealthy man and the poor son: A son deserts his father to wander abroad. Many years later he returns, not recognising the wealthy man his father has become. The laDer, realising that his son is unable to act as a reliable heir, disguises himself and builds up his son’s confidence through giving him increasing responsibility and kindness, thus making him worthy and upstanding.

3) The medicinal herbs: All growing things – be they trees, grasses or herbs – differ in size, name and form, yet they benefit from the same rain and grow in the same soil, yet when they fruit or blossom all are different.

4) The gem and the magic city: A leader led people along a dangerous road to the place of treasures; only he knew the proper route. The people following became weary and wanted to return, upon which me conjured up a magic city and promised them rest there. Once they had rested, it vanished, and he took them onwards to the true place of treasures.

5) The gem in the jacket: A beggar visits an old friend who takes pity on him and aDached a priceless gem to his jacket while he sleeps. The beggar, unaware, leaves the next day and for years travels the road, homeless and weary. His friend meets him and scolds him for having been so blind to his poten5al wealth.

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6) The brilliant gem in the king’s topknot: A great king demanded the obedience of other, warring states, which disobeyed his orders. He went in and suppressed them, but was much taken by the fierce and loyal figh5ng his foes displayed. He gave them presents and giOs, excep5ng a jewel he kept hidden within his hair. This he kept, and only gave it up to those who accepted his dominion.

7) The excellent physician: The physician’s children ate poison in his absence, and begged him to cure them on his return. He made an elixir to cure them, and the ra5onal ones took it at once and thus were saved. The irra5onal ones, however, refused to believe its benefit and did not take it. He found it necessary to trick them, and leO the medicine with an exhorta5on to take it. He went away, and sent a messenger to state that he had died. His children, bereO, were so saddened they remembered his par5ng wish, obeyed it, and thus were cured.

All of these illustrate the avuncular/paternal nature of Buddha and the efforts – and even trickery – to which he goes to save his children/mortals. He is also the cloud which waters the earth and all in it, great and small. In all cases, the righteous receive rewards, which are inevitably the enlightenment of Buddha-­‐hood.

This Song Dynasty example is a masterful rendering of this important theme. This period saw enormous social change under compara5vely enlightened monarchs, who introduced sweeping reforms of social and administra5ve bodies, ins5tu5ng examina5ons and abolishing hereditary and aristocra5c rights, and introduced a standing navy. Corrup5on was essen5ally halted, paving the way for the world’s first paper money, producing a stable climate for scien5fic and ar5s5c advances – notably the world’s first astronomical clock tower, the refinement of woodblock prin5ng, the inven5on of movable type, and advances in cartography, engineering, philosophy and mathema5cs.

This remarkable pair of panels would have once adorned a major building or the tomb of a very prominent personage. They cons5tute a remarkable survival and a superb reminder of the grandeur of ancient China.

Song Dynasty Marble Pagoda - AM.0345 Origin: China Circa: 960 AD to 1276 AD Dimensions: 48.03" (122.0cm) high Collection: Chinese Art Medium: Marble AOer the collapse of the Tang Dynasty (906 AD), there was a succession of short-­‐lived governments (known as the Five Dynas5es). This period of unrest came to an end with the establishment of the Northern Song Dynasty in 960 AD. Renewed poli5cal stability helped to usher in a period of economic prosperity and a massive rise in popula5on.

Amongst the many cultural achievements of the Song Dynasty, the re-­‐ invigora5on of the examina5on system and the inven5on of movable type rank highly. Intellectually the greatest achievement was the development of Neo-­‐ Confucianism-­‐ a philosophical movement heavily influenced

by Buddhist teachings. Although Buddhism had reached China from India during the Han Dynasty, it took 5me for the new faith to make progress. This was partly because it had to compete with na5ve ideologies, namely Confucianism and Daoism.

It was possible, however, to find common ground between these belief systems and by the Tang Dynasty Buddhism was experiencing a golden age in China. This extraordinary marble pagoda is an ar5s5c tour de force. Pagodas evolved from Indian stupas which were originally designed to hold the Buddha’s relics and sacred texts (sutras).

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This 5ered tower structure quickly became popular all over Asia although its form differed widely according to local ar5s5c conven5ons. In China it was popularized by Buddhist missionaries and merchants who traveled along the Silk Route.

The earliest Chinese pagodas were built in the centre of temples but by the Song Dynasty they were usually placed just outside the main temple complex. In fact, the highest medieval pagoda to survive in China-­‐ in the Kaiyuan Monastery, Hebei Province-­‐ was completed by a Song ruler, the Emperor Renzong, in 1055 AD.

Originally the bases were square or circular but by the tenth century they had assumed a more elaborate octagonal form.

This example features five 5ers with seated figures carved in high relief. The lower three 5ers feature mul5ple images of the Buddha, dressed in flowing robes, with a prominent ushnisha and elongated earlobes (symbols of spiritual wisdom and the renuncia5on of wealth respec5vely). The upper two 5ers are much more lively – depic5ng seated female musicians, playing a variety of instruments including the drum and the flute. Also wearing flowing robes with wide sleeves, their hair is arranged in a double topknot. The five receding 5ers represent the five regions of Mount Meru, venerated by Buddhists and Hindus alike as the centre of the physical and spiritual universe. The base is heavily adorned with 5ers of stylized leaves and an interlacing rope-­‐like design in relief. Above this, on each corner, a series of well-­‐built figures kneel on one knee-­‐ as if they are suppor5ng the structure above. Every available surface has been u5lized by the carver and the projec5ng eaves are adorned with an incredible variety of mo5fs. These include stylized flowers, birds and garlands. Lion heads project from the structure at two levels adding to the complexity of the design.

This marble sculpture was created during an era when pagodas s5ll had strong religious rather than ornamental associa5ons. It is an incredible piece that deserves to be the centerpiece of any serious collec5on of Buddhist art.

Pair of Song Dynasty Buddhist Panels - AM.0342 Origin: China Circa: 960 AD to 1276 AD Dimensions: 32.68” high x 25.59” wide x 7.09” depth Medium: Marble AOer the collapse of the Tang Dynasty (906 AD), there was a succession of short-­‐lived governments (known as the Five Dynas5es). This period of unrest came to an end with the establishment of the Northern Song Dynasty in 960 AD. Renewed poli5cal stability helped to usher in a period of economic prosperity and a massive rise in popula5on. Amongst the many cultural achievements of the Song Dynasty, the re-­‐ invigora5on of the examina5on system and the inven5on of movable type rank highly. Intellectually the greatest achievement was the development of Neo-­‐Confucianism-­‐ a philosophical movement heavily influenced by Buddhist teachings. Although Buddhism had reached China from India during the Han Dynasty, it took 5me for the new faith to make progress. This was partly because it had to compete with na5ve ideologies, namely Confucianism and Daoism. It was possible, however, to find common ground between these belief systems and by the Tang Dynasty Buddhism was experiencing a golden age in China.

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This magnificent pair of marble panels are carved in relief within a rectangular format. A seated bodhisaDva is depicted in the central niche of each panel. Dressed in long flowing robes and celes5al scarves, their drapery overlaps the ornately carved pedestals. Each figure performs a different mudra or hand gesture and gazes downwards symbolizing their medita5ve state. BodhisaDvas were compassionate individuals who delayed their own entry into Nirvana in order to help other sen5ent beings end the cycle of birth and rebirth. Buddhist texts do not specify their gender but it was towards the end of the Song Dynasty that Chinese ar5sts began to accentuate their feminine characteris5cs. These panels are interes5ng as they reveal this transi5on in progress; whilst the facial features are s5ll quite masculine the drapery and delicacy of the gestures are ambivalent. Both bodhisaDvas are richly apred in ornate jeweled headdresses and bracelets. They are framed by two flame-­‐like overlapping aureoles which reinforce their holiness. The boDom 5er of each panel features six kneeling devotees with their hands clasped in prayer. Their devo5ons are directed towards a small altar-­‐like table which supports a precious container. It is likely that this represents a reliquary, containing either relics of the Buddha himself or sacred texts (sutras).

The purely decora5ve areas of the panels are equally impressive. The detail is so intricate it is as if the surface of the stone has been treated like a richly woven tapestry. The upper two horizontal 5ers feature stylized flowers and beaded swags. On the outer side of the ver5cal axis, birds and lions nestle in a paDern of dense foliage. The inner border is very unusual-­‐ at first sight it consists of large stylized flowers. However, closer inspec5on reveals that some of these feature the head and bust of a female. Together these panels tes5fy to the vitality of Buddhist art during the Song Dynasty and would make a wonderful addi5on to any serious collec5on.

Northern Qi Buddhist Stele - AM.0341 Origin: China Circa: 550 AD to 577 AD Dimensions: 22.05” high x 16.9” wide x 3.92” depth Medium: Stone The Northern Qi were an extremely short-­‐lived dynasty during a very tumultuous period in Chinese history. However, despite the military and poli5cal unrest that characterised their twenty-­‐seven year reign, the arts con5nued to flourish. In fact the fiOh and sixth centuries were extremely important to the development of Buddhist art in China.

Although Buddhism reached China along the Silk Route during the Han era, it took several centuries to really gain ground. The legendary conversion of the Han Emperor Mingdi in the first century AD was a turning point, but the state s5ll hesitated to promote Buddhism over na5ve ideologies such as Confucianism and Daoism. Real progress took place under the Northern Wei, a foreign dynasty who adopted Buddhism as the state religion. The monumental cave sculptures at Yungang and Longmen aDest to this new enthusiasm.

Although there are notable stylis5c differences between Wei and Qi period sculpture, namely in areas such as drapery, both eras witnessed a remarkable enthusiasm for commissioning images of the Buddha. This stone stele is a perfect example of this trend.

The Buddha, carved in high relief, is seated on a pedestal in the centre of a deep niche.

The scale of the figures reflects their rela5ve importance. On either side he is flanked by two aDendants with bare heads and two bodhisaDvas, standing on a pair of crouching lions. The expression of the Buddha is one of deep medita5on with his eyes downcast and his leO hand poin5ng towards the earth. The right hand is missing, but may well have been raised in the opposite direc5on to the leO. The folds of the 5ghtly fipng robes have all been carefully delineated and fall over the base in regular concentric semi-­‐circles. The back of the niche features a lightly incised aureole with flame-­‐like projec5ons.

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Mul5ple images of the Buddha were extremely popular in this period and are present here in the outer frame. On the upper 5er a row of standing aDendants are visible behind a compressed leaf-­‐ shape mandorla. Within this, above a row of seated Buddhas, four flying heavenly beings support a central flame. Wearing billowing stoles, their hair is 5ed in topknots that move with the wind. Heavenly beings were low ranking dei5es or semi-­‐dei5es who worshipped the Buddha and bodhisaDvas in song and dance and some5mes offered them vo5ve giOs such as flowers or incense. They originated in Indian mythology and belong among the Eight Supernatural Beings (Chinese: babuzhong) in the Buddhist pantheon. According to the Lotus Sutra their role is to protect the Buddha and Buddhist doctrine.

The two small-­‐scale kneeling figures within the upper mandorla may well represent the donors who commissioned the stele. The lowest 5er is equally impressive with four crouching bodhisaDvas, framed on either end by a snarling creature, possibly represen5ng a lion or dragon. Dragons feature elsewhere in the design, with their heads visible just above the columns that frame the central niche. Fire and flames appear to be the central theme of the stele, and the outline of the leaf-­‐shape mandorla is created from flames issuing from the mouths of these dragons.

This piece is excep5onal, both for its iconography and the quality of the carving. In excellent condi5on, it deserves to be the centrepiece of any serious collec5on of Buddhist art

Ming Buddhist Shrine -­‐ AM.0340 Origin: China Circa: 1368 AD to 1644 AD Dimensions: 18.5" (47.0cm) high x 11.25" (28.6cm) wide Medium: Stone

This remarkable object has been carved on all four sides. Two sides feature a seated Buddha, alternated with standing bodhisaDvas, each holding a lotus bud and a heart-­‐shaped fan. The Buddhas hold their right hand up in a gesture of reassurance or blessing. The tree which forms a canopy represents the Bodhi Tree. This was the site where the historical Buddha, Siddhartha Gautama, achieved Enlightenment in the sixth century BC. The four corners of the sculpture are defined by four tree trunks, incised with rippling lines. Eight lions crouch beneath the four trunks. The religious significance of the lion has a long history in Buddhism. In early Buddhist art the Buddha was not portrayed in human form but represented by a number of symbols. These included an eight-­‐spoked wheel, the Bodhi tree, and-­‐ most significantly for our purposes-­‐ a lion. Lions were tradi5onally associated with regality, strength and power and this relates to the historical Buddha's former life as a royal prince. The Buddha's teachings are also some5mes referred to as the 'Lion's Roar'. This unusual object may well have been used in a private devo5onal sepng, as a tool for medita5ng on the Buddha's Enlightenment. As a physical expression of piety and wealth during the Ming era, this is a fascina5ng piece.

Northern Wei Brick from a Buddhist Shrine - AM.0251 Origin: China Circa: 386 AD to 534 AD Dimensions: 12.5" (31.8cm) high x 6.25" (15.9cm) wide Medium: Clay The period of the Northern Wei dynasty was crucial to the development of Buddhist art in China. Prior to this there was a heavy reliance on foreign-­‐derived models, especially from India, the birthplace of Buddhism. During the fiOh and sixth centuries Chinese ar5sts began to experiment and produced new styles unique to the region. This was made possible because the Northern Wei dynasty lent its support to the Buddhist faith. The cave sites at Yungang and Longmen aDest to the flourishing of Buddhist piety and it has been es5mated that by the sixth century there were over 30,000 monasteries in Northern China. Mul5ple images of the Buddha and his aDendants were carved in stone, wood and clay. This rectangular brick 5le comes from a large group that probably formed the interior wall of a religious founda5on or shrine. It is moulded from a dark grey clay that was fired and then painted. Traces of the original red pigment are s5ll visible in the rectangular niche. The brick depicts a seated Buddhist figure with the leO arm raised and the right held just below waist level. The drapery clings to the body in curved folds. It is rare for such architectural fragments to survive from the Northern Wei period. -­‐

Northern Wei Marble Sculpture of a Bodhisattva - LO.1310 (AM) Origin: China Circa: 386 AD to 534 AD Dimensions: 11.5" (29.2cm) high Medium: Marble This marble stele depicts a bodhisaDva carved in high relief against a leaf-­‐ shaped mandorla. It dates to a 5me of unprecedented ar5s5c development that surrounded the period of China’s unifica5on in 439 AD, under the Northern Wei (or Tuoba Wei). The rulers of the dynasty seem to have originated from the Tuoba clan of the non-­‐Han Xianbei tribe, and later renamed themselves the Yuans. Standing on a lotus pedestal, the figure wears a tall headdress and a flowing outer robe which runs beneath the pedestal onto the rectangular plinth. In his right hand he holds a lotus bud and in his leO a heart-­‐shaped fan. These aDributes are common amongst bodhisaDvas of the Northern Wei period. The fan mo5f first appears in a similar context in Gandharan Buddhist art of the 1st century AD and was used to honour high-­‐ranking persons. In Chinese examples it is always shown poin5ng downwards. Two sets of concentric curves have been carved in low relief to frame the bodhisaDva. Delicate features are one of the hallmarks of Northern Wei figura5ve sculpture, reflected here in the slender arms and body. The face and clothing are likewise finely carved, with a long robe and tunic surmounted by a flamboyant piece of headwear that frames the face with two “wings”.

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Buddhism was first introduced to China from the Indian subcon5nent along the trade routes of Central Asia during the early years of the Han dynasty. However it faced two powerful compe5ng ideologies, Confucianism and Daoism, which ini5ally impeded its progress. When the Northern Wei, a foreign nomadic people, conquered parts of China in the late fourth century Buddhism was flourishing. BodhisaDvas were oOen depicted in pairs around a central image of the Buddha. These enlightened beings choose to delay their entry into Nirvana in order to help others aDain enlightenment. Although Buddhist texts do not specify their gender, Chinese examples are generally depicted as male un5l the end of the Song Dynasty (1279), when they begin to assume a feminine appearance.

BodhisaDvas can usually be differen5ated from Buddha figures on the basis of their decora5ve appearance; Buddhas are invariably depicted in plainer raiment that reflects their asce5c lifestyle.

The size of this piece suggests that it may have func5oned in a domes5c sepng as an aid to devo5onal reflec5on.

Although there is no remaining trace of colour, it was probably polychromed and gilded in its original state. At this early date bodhisaDvas tended not to be venerated in isola5on from images of the Buddha, so it is not inconceivable that this piece was once part of a group of free-­‐standing sculptures. The choice of material is also worthy of men5on: marble is uncommon, as the majority of Buddhist art that survives from this period is carved from limestone. The small, in5mate scale of this piece and the delicacy of the carving make it a truly desirable object.