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Catalogue Descriptions Dr. Elizabeth Childs-Johnson
from Northern Dynasties
CATALOGUE
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A beautiful, white marble image of a standing Guanyin bodhisattva holding a lotus bud in his right hand. The lotus, symbol of the bodhisattva’s purity of purpose and mind identi"es the additional name in Sanskrit, Padmapani, “bearer of the lotus.” This Buddhist savior stands ramrod straight, except for a slight downward bend of the head aimed towards the devotee. A rich display of jewels ranging from strands of pearls held by a brooch at tummy level to a diadem formed out of !oral lotuses with tiny triumvirates of suspended pearls decorate both body and head. The richness re!ects the spiritual wealth of the Buddhist law and celebrates this Northern Qi expression of bodhisattva hood. Although small in scale, the sculpture is a masterpiece of Northern Qi taste for luxuriant accouterments in combination with a pronounced and robust tubular head and body with prominently articulated hands, feet, and digits. Fleshy hands and feet complement pronounced facial features of bowed eyebrows, heavily lidded eyes, long ridged nose, pursed lips, and a small double chin. In addition to the elongation of body, limbs, phalanges, and head are the earlobes that distinguish nobility and divinity. The front and back of the image are meticulously fashioned. The "gure wears three types of clothing: the skirt called dhoti with undershirt crossing diagonally across the chest; second, a capelike shawl knotted with tie at the waist and silk scarf ends that overlap both arms in dramatically long rivulets at each side of the bodhisattva; and third, a clasp formed out of two circular knobs with ribbons that hold the pigtail strands of hair in place. The diadem is secured by two prominent !oral bows. The binding, softly falling silken sashes, is elaborately decorated with what were originally probably three metalwork versions of lotus buds aligned with prominent rows of pearls. The lotus motif is further represented in the metal-shaped torque around the neck and by a di$erent lotus design of a simulated metal clasp of the long body necklace. The body necklace in turn is composed of three aligned strands of pearls alternating with bow-shapes along the length of the body on both front and back sides. A further addition of enrichment is provided by the centralized silk ribbon hanging below the belly brooch with metal rings and bowed sections. The pleated skirt with a waterfall hemline is another example of the Northern Qi taste for rich detail through a rhythmical array of motifs, whether of drapery hemlines or folds, or a variation of jewelry. The most immediate comparison is the colossal image, three times the size of the Throckmorton statue, on exhibit in the Buddhist galleries at the Metropolitan Museum of Art in New York (The Sackler Fund, 1965, no. 65.29.4). The latter Northern Qi Bodhisattva is created out of sandstone, typical of the Yungang grottoes outside Datong, Shanxi province, whereas the present statue is created out of white marble, probably from Hebei or Shandong province. Both statues favor the exhibition of extravagant jewelry on bodies of tubular proportions, once also elaborately painted with multiple colors.
2. Standing Buddha with Partial Halo Late Northern to Eastern Wei Period 520-550 CE Limestone Shandong Provence H: 42 inches
This exquisite example of a standing Buddha, with a partially preserved halo, would originally have been painted with a patchwork robe, typifying Sakyamuni Buddha. Faint traces of red originally formed an outer mantle of rectangular red patches separated by light-toned bands. Hands are missing yet would have been rhythmically balanced in upward and downward gestures of abhaya (fear not) and varada (bringing the earth to witness). The plinth and lotus base would have raised the image to at least "ve feet. The statue is carved in the round, a phenomenon that begins during the Late Northern Wei and thereafter is common to Buddhist images ranging from bodhisattvas to monks and Buddhas. The nimbus with central lotus petal is carved from the same limestone as the Buddha. The major emphasis is still on a frontal perspective and the back is summarily treated. The treatment of drapery and the loosening of an earlier sti$ archaic smile and facial expression characterize stylistic changes of the later Eastern and Western Wei periods. The gentle smile, dreamy eyes and forward projecting ushnisha show stylistic changes in favor of harmonic rhythms. Although the cranial protuberance is still large, as it was during the Northern Wei era, this part of the hair and the hair of the head are now rendered not as wavy plaits of the Gandharan and Indian prototype but as small-scale uniform knobs. The new relaxed style of the latter Wei periods is well represented by rippling edges of hems, garment folds, and hanging ribbons. The mantle falling over weak shoulders, although slung over the left arm rather than shoulder is treated symmetrically, gathering and descending in U-shaped folds down the center of the "gure. Immediate parallels are well represented by the numerous statues discovered in association with Longxing Temple in Qingzhou, Shandong (see e.g., Zhao Puchu 2003 "gs. 25, 35, 37, 49). For the look of an original limestone statue that retains most of its paint, see Zhao 2003:37.
3. Head of Buddha Northern Wei Period 386-534 CE Limestone H: 15 1/2 inches, W: 17 inches
The Buddha head is sculpted out of what was originally painted limestone, which is corroborated by the remnants of polychrome paint. The head is part of a larger sculpture, probably representing a standing image of the historic Buddha Sakyamuni with body mandorla and the head halo signifying divinity. Identifying lakshana or holy attributes include the third eye once " lled with a precious, probably jade, stone, elongated earlobes, and ushnisha or cranial protuberance. In style, the image re! ects the transition between the earliest Buddhist type described in art historical literature as the Archaic Style and the second the Sini" ed style. The residue of the earliest Archaic style appears in the telltale feature of the mouth, curled upwards at the corner, as if in simulation of the “western” archaic Greek interpretation of the mouth. At this point the Buddha wears the Chinese robe that opens at the front, here signi" ed by folds symmetrically falling over the sloping shoulders of the deity. Based on facial features and Chinese robe this head of Buddha dates to the late " fth/early sixth century, just after the Toba Wei moved their capital south to Luoyang (494 CE) and opened up caves at Longmen as a continuation of what had begun with the " ve cave temples at Yungang, opened at the earlier capital of Datong, Shanxi. Numerous comparable examples derive from the cave temples of the Six Dynasties Mogao caves at Dunhuang, at the end of the Silk Road in Gansu province and the newly opened Six Dynasties cave temple of Binyang of N. Wei date at Longmen, as well as at other sites, including the Gongxian caves at Gongyi, Henan, and Qingzhou, Shandong (see Zhongguo shiku diaosu quanji bianji weiyuanhui, ed., Zhongguo shiku diaosu quanji 6-Beifang liusheng, " g. 15; Zhongguo meishu quanji bianji weiyuanhui, ed., Zhongguo meishu quanji-Diaosu bian 3-Wei Jin Nanbeichao diaosu, " g. 147; Hong Kong Museum of Art, ed., Buddhist Sculptures: New Discoveries from Qingzhou, Shandong Province, p. 129).
4. Seated Bodhisattva Guanyin (as Padmapani) on an Hourglass Throne Eastern Wei/ Northern Qi Period 535-577 CE Marble with Polychrome H: 20 inches
The seated marble image of the bodhisattva holding a lotus identi" es the image of Guanyin bodhisattva as Padmapani, or bearer of the lotus. The lotus identi" es the purity of Buddha hood, made famous by the painted version of the same deity in the Guptan Buddhist cave temple of Ajanta, India. The bodhisattva sits with folded legs on an hourglass lotus throne created by a top seat of upward pointing lotus sepals and a lower frame of downward pointing lotus sepals. The bodhisattva (one with knowledge of enlightenment) wears humble jewelry in the form of a metal torque around the neck and a festooned headdress with ribbons hanging to left and right behind the deity’s ears. Clothing consists of an outer shawl, inner shirt crossing diagonally and cinched with a tie, and a dhoti skirt. The slim ribbon ends of the shawl loop downwards toward the lap and up over each arm and further downwards, falling as soft curling folds at either side of the throne. The back and front hemlines of the dhoti skirt are caught in symmetrically relaxed cascading folds by the underlying sepals of the lotus dais. An inner tenon fastened at chest level secures the lotus bud held by the enlightened one. The artist creates a balance of hand gestures in a unique design of one up and one down, and with the second and third digits pointed upwards or downwards. Balance and harmony are often goals of the Buddhist artist working in China, as revealed in the symmetrical and repeated movements of relaxed folds of drapery, trailing scarves of the cape, which are mimicked in the similar softly rounded shape of lotus sepals, plates of hair, and ! oral projections of the crown. Clothes and dais were once brightly colored, yet exposed body parts (face, ears, neck, arms, hands, and upturned soles of the feet) are de" ned by the pearl white polish of the original marble stone. The simplicity of dress retains earlier Northern Wei practice, yet the lyrical expression and attention to ! eshy body parts is entirely Eastern Wei to Northern Qi in style. Lotus sepals, body parts, clothing, and headdress are all tenderly modulated. The third-dimensional interpretation of the image is evident in side and back views where clothing, especially the cape-shape of shawl, overlapping ! ap of the dhoti skirt, and hourglass shape of the throne are clearly articulated. The small-scale of this image suggests it once decorated a personal altar. Additional comparisons include seated bodhisattvas in the pose of royal ease, with one leg folded and the other extended down, from Longxing Temple in Qingzhou, Shandong of Eastern Wei and Northern Qi dates (see Compassion 2003: pl. 14, pp. 42-44 and Return 2002: " g. 169, p. 151).
Bodhisattva Padmapani, wall mural, Ajanta Cave, India Guptan period (left). Bodhisattva Guanyin Padmapani, rock-cut limestone cave, Guyang, Longmen, Henan province, Eastern Wei period (right).
5. Head of Buddha Eastern Wei Period Shandong Provence 534-550 CE Limestone H: 16 inches
This is a superb example of a head of a Buddha belonging to the Eastern Wei period, of the mid-sixth century, circa 534- 550 CE. The stone head most likely originally belonged to a standing image of the Buddha, now lost, but one that stood independent of a mandorla and halo that typically accompanied standing images in symbolizing the Buddha’s divinity. The head retains the somewhat squared head shape and the prominently projecting ushnisha of earlier Northern Wei images, yet is covered with a plaque of similar small-scale, wheel-shaped curls of hair that typify later Wei and Northern Qi Buddha images. The squint of the eyes with " shtail ends, softening of the nasal ridge, and bulging of the lips portray the new interests of the Eastern Wei style. The head is also remarkably full and robust, in presaging the direction taken by Northern Qi styles. Comparisons include various limestone sculptures comprising steles and independent pieces on exhibit at the Qingzhou Municipal Museum (see below).
This over-sized head, with traces of polychrome paint, belonged originally to a statue of a bodhisattva. The diadem type headdress is clearly de"ned by three semicircular lotus motifs surrounded by !oral !ourishes. The semi-circular crown is held in place by a headband with bowed loops and ribbons !anking the sides of the head behind the ears. Part of the hair is piled at the top in an oval shaped bun, whereas two lower tresses of hair divide into two plaits, which if they had been preserved intact, would have extended into a right and left set of three further strands of hair trailing down each upper arm. White marble is the preferred stone for creating Buddhist art works during the sixth century. The stone was quarried near the Eastern Wei and Northern Qi capital of Ye, in Hebei province. One prominent mine was located in Quyang, Dingzhou county neighboring Shandong province, thus the “white stone” was in ready supply and popularly exploited. Many heads of similar proportion and style have been salvaged from the ruins of temples in Shandong and Hebei (see e.g., Zhao 2003: "gs. 187-189; Return 2001: nos. 22 and 36, pp. 35 and 46). White symbolized purity in traditional Chinese lore and for this reason was favored as a material for creating Buddhist images. It is unlikely that the purest of white marble sculptures were painted or gilded; rather the stone was polished to a brilliant white sheen in keeping with the desired skin color of a princely Chinese "gure.
7. Standing Bodhisattva Eastern Wei/Northern Qi Period 535-577 CE Limestone with Polychrome H: 26 inches w/ base
This freestanding image of a bodhisattva typi"es the mid-sixth century preference for sculpting images averaging onehalf to one-third life-size. The limestone sculpture is a high quality image of the Eastern Wei or early Northern Qi period. The expression is angelic and contemplative. Fully formed oval heads standing on slender bodies with slightly bulging stomachs contrast with intricate and rich detail rendered through softly modeled drapery folds and elaborate jewelry. Gilding is preserved on the face and other exposed body parts. Scattered remains of red and blue color adhere to hair, headdress, and clothing. The diadem is de"ned by suspended pearl swags and an upper level of rosettes. Although parts of the scarf which drapes over the arms are missing, as are the hands, the latter would have represented opposing hand gestures. Although the interpretation of the "gure favors a slim and modestly de"ned body, the sculpture is three-dimensional and intended to be seen from all sides. Long strands of aligned pearls alternating with gemstones are cinched by a central brooch on both the front and rear sides of the image. Clothing composed of a shoulder cape, inner shirt, dhoti skirt, a rich display of jewelry, and a decorated diadem identify a princely likeness for the typical bodhisattva image. A cape lies across shoulders and upper back, and at the front continues as drapery festoons that symmetrically cross under the brooch in creating long and large symmetrical loops. In contrast to the serenity of the face, the gentle folds of drapery are busy. Hemlines end in softly rippling edges. Ribbons of the headdress frame the head. Longitudinal sashes extend in bas-relief down the front of the "gure’s clothing, yet are whimsically decorated with knotted bows and ends simulating cut pieces of ribbon. A lotus stand would have supported the plinth and added further height to the standing image. The idiosyncratic diadem created as a starched cap with raised bands of this "gure is comparable to the diadem worn by the bodhisattva from the Longxing Temple in Qingzhou, Shandong that came to the United States for exhibit in 2002 (Return 2002: no. 12, p. 100). This interpretation is one variation of the creative genius for detail that characterizes stylistic variations on interpretations of the Buddha and bodhisattva image during the mid-sixth century.
This just over two foot-tall, marble image represents the popular bodhisattva Guanyin (Avalokitesvara). His identifying attribute is the water !ask held in his right hand. Freestanding, the statue is intact with all limbs and hands, and probably originally stood on a lotus-shaped base, no longer intact. Traces of a rich polychrome surface appear in areas of the clothing and diadem. From one piece of marble the sculptor has created a moving three-dimensional image with the intent of being viewed from all sides. Front, back, and sides are meticulously worked, showing the swaying form and complete dress of a typical late Wei and Northern Qi bodhisattva. The long string of jewels that forms an X-design down the front of the body is carefully continued at the back of the "gure, emerging below the cape in a similar symmetrical design. Typical of Northern Wei bodhisattva dress, are the four attributes, dhoti skirt, a cape with long ribbon scarves, a body necklace, and diadem. Yet, typical of Eastern Wei and Northern Qi interests the scarf ends have a rhythm of their own and the dhoti skirt may also take on a life of its own, in this case created as doubled, as represented by the softly curling double hemlines. The Eastern Wei and Northern Qi love for creative detail is extended to the delicately carved lotus in relief emerging at the base back of the statue. The whimsical treatments of standardized features of clothing is characteristic of Eastern Wei and Northern Qi taste and is key to understanding the respect and love by sculptor and patron alike for Buddhism during this heyday period of the mid-sixth century. The ribbon ends of Guanyin’s diadem hang symmetrically and end at shoulder level. The scarves of the shoulder cape on the other hand, although seemingly symmetrical since each is treated by two Ushaped drapes at chest and lower body level, nonetheless follow this rhythmic arrangement by overlapping left and right arm at di$erent levels. The artist has also taken liberties by creating two (not one) hem edges that undulate as tiny symmetrical rising and falling loops, three at the back and three at the lower hem at the front. The second hemline at the front of the "gure is divided lengthwise into two with its own terminals of big staccato !aring curls, a detail that is a pure artistic invention. In order to secure this creative imagery, two tenons are added as horizontal support between scarf ends and the body. As a stylistic variation of bodhisattva dress, the dhoti skirt during this era may be bound at the waist or lower chest level by a knotted sash, without representation of an inner shirt. The subtle play of drapery folds, so distinctive of this mid-sixth century style may be observed across north and south Buddhist borders, including other bodhisattvas in the Western Wei Cave 27 at Maijishan, the life-size stone image with mandorla, dated 552 CE from Changzi County, Shaanxi, and the considerably larger, life-size image statue in the Miho Museum, most likely from Shandong province (Miho Museum 1997: no. 124, pp. 243-246). The full face with bulging cheeks presages the naturalistic interests of Northern Qi sculptors. The long and slender understated body with swayback and inventive clothing, nonetheless is also comparable to other images of Eastern and Western Wei through Northern Qi and Northern Zhou date from the Longxing Temple in Qingzhou and Longhua Temple in Boxing, Shandong (Return 2002: no. 12 and "g. 69, pp. 100-101), as well as to stone sculptures of Western Wei or Northern Zhou date from the Maijishan Cave Temple in Tianshui, Gansu province (Juliano and Lerner 2001: no. 66, p. 187). The comparison to the Maijishan sculpture is particularly telling. Although the Guanyin statue from Maijishan is considerably taller, at 57 inches, style and form of mid-sixth century date are comparable. The Maijishan Guanyin holds a lotus bud in his raised right hand as opposed to the marble image here who holds a water bottle. The two similarly have tripartite crowns without the telltale image of the meditating Amitabha Buddha that is so characteristic of this image in later Buddhist art (Juliano and Lerner 2001: no. 71, p. 197).
9. Stele with Bodhisattva Pair Northern Qi Period 550-577 CE Marble H: 13 1/2 inches
Two bodhisattvas in relief on a small white marble stele stand symmetrically as mirror images of each other. They hold an incense bag in one hand and raise the other hand, although the gesture is not clear. The twin bodhisattva image re! ects the Chinese interest in natural balance, as had been re! ected in the well-known Mahayana text, the Lotus Sutra relating the narrative of the Buddha of the Past who came to site with the historic Sakyamuni Buddha (Fig. A below). The same symmetrical theme was adopted in Buddhist imagery of the bodhisattva, although the theme of two bodhisattvas ! anking the Buddha had been celebrated since the beginning of Mahayana Buddhist imagery of earlier Indian origin. Just as there had been more than one Buddha in the past and as there would be more in the future, so too is this sculpture indicative of the bodhisattva image. These twin bodhisattva images without Buddha appear in imagery during the late Wei and Northern Qi periods as a complement to the celebration of the twin Buddha theme related in the Mahayana bible. Pairs of mirror Guanyin standing bodhisattvas of the later Tang period on a stele the Ostasiatische Kunst in Cologne hold Guanyin attributes of the lotus and water vase and are identi" ed by inscription. Two portable bodhisattva attendants of Guanyin surviving in the portable shrine from fourteenth century Korea are two other of the few identi" ed by inscription (see below). Another Northern Qi marble stele in the Ostasiastische Kunst in Cologne (see below) features twin bodhisattvas and at the top the familiar “miraculous stupa” housing twin Buddhas, who sit to discuss the law of the Lotus Sutra. Another interesting yet “southern” comparison dating to the Liang dynastic period (502-557 CE) belongs to the Wanfo Temple in Chengdu, Sichuan (see China: 5000 Years Innovation and Transformation in the Arts, New York: Guggenheim Museum, 1998: no. 151) The present stele appears to be un" nished due to the lack of articulation of the right and left hands of the two bodhisattvas. No inscription specifying donor or image on either front or back of the stele exists. The plump bellies, ! eshy hands, and double chins of the images, nonetheless indicate that the stele belongs to Buddhist art of the Eastern Wei and Northern Qi.
Figures A, B, C. Di$ erent paired images of either Buddhas (far left) or Guanyin bodhisttvas (far right). Gilt bronze stele of Sakyamuni and Prabhutaratna, 534 CE, Musée Guimet; Gilt bronze portable shrine with freestanding mirror images of Guanyin bodhisattvas, North Korea, fourteenth century; marble stele with paired bodhisattvas, 37 1/4 inches, Museum für Ostasiatische Kunst, Cologne.
This marble sculpture features a half life-size standing image of Sakyamuni Buddha. Although the hands and their gestures have been damaged, the statue and lotus stand are remarkably well preserved. The image is a classic example of late Northern Qi and Sui style, comparable to stone-cut temple sculptures, as well as to free-standing stone ones known in temples of north China. The Buddha is dressed in monastic clothing typifying Chinese interpretations: an outer sanghati robe is draped symmetrically over both shoulders, an inner shirt runs diagonally across the chest, and an inner dhoti skirt is articulated only by a second hem line. In form, the image is slim and columnar. Although there is little interest in the physical body its presence is subtly marked by the indentation of the robe following the outline of the torso and the limbs. Folds of the outer robe are simply treated as broad mechanical loops. On the "gure’s back, the end of the outer robe is !eetingly de- "ned overlapping the right shoulder and the robe’s mass by three arching fold lines. In contrast to the understated body, the head is meticulously carved. Small-scale wheel curls symmetrically girdle the head with a terminal oval and a faintly protruding ushnisha, one of the Buddha’s holy attributes. Ears are typically elongated. Facial features are tenderly modeled, emphasizing tranquility through slightly opened eyes, strength through a long aquiline nose and full cheeks, and humanity through voluptuous, undercut !eshy lips. Comparative pieces derive from both museums and in situ sculptures in China (see e.g., Zhao 2003: "gs. 52, p. 50, 69, p. 67, 71, p. 69, 73, p. 71, and 78, p. 75). The variety of interpretations of drapery (including robe, inner shirt, and shoulder cover of the outer robe) during the late Wei through Northern Qi periods underscores the interest and the desire to represent the Buddha in the most inventive and creative fashion.
This limestone sculpture features a half life-size standing image of Sakyamuni Buddha with hands preserved in two mudras of protection and generosity. The two opposing gestures, abhaya and varada, consistently appear together in identifying the historic Buddha. The statue is impeccably intact, preserved with plinth in the form of an inverted lotus framed by small-scale guardian lions. At the back, a lotus worked in low relief rises out of the plinth to the base of the "gure. Classically Northern Qi and Sui in expression, the image combines strength and equanimity, through a balance of volume and detail. The monastic clothing of the Buddha is de"ned by an outer sanghati robe draped, here symmetrically over both shoulders, an inner shirt de"ned by a diagonal, and an inner dhoti skirt articulated only by a second hem line. The strong columnar form and vertical disposition of the image are tempered by the movement of the hands and repeated undulation of drapery folds. The simplicity of the robe and understated body are in addition subtly challenged by the rippling edge of the hem and robustly powerful carving of the head, all of which are attributes of the new style formed during the Northern Qi and Sui periods. Busy but symmetrically aligned small-scale curls cover the head in forming a soft protrusion of ushnisha, one of the holy attributes of the Buddha. Ears are typically elongated. Facial features are tenderly modeled, emphasizing tranquility through slightly opened eyes, strength through a long aquiline nose and full cheeks, and humanity through voluptuous, undercut !eshy lips. Comparative pieces derive from both museums and in situ sculptures in China (see e.g., Zhao 2003: "gs. 52, p. 50, 69, p. 67, 71, p. 69, 73, p. 71, and 78, p. 75).
The limestone statue represents an appealing image of the bodhisattva type fashioned during the late Eastern Wei through early Northern Qi periods. Left and right arms are missing, as are the middle portion of the ribbons of the cape that were designed to loop over the arms and fall to left and right sides of the upper body. Standard bodhisattva attributes include the dress of an “Indian prince,” represented here by a diadem with side bows and ribbons, a torque style necklace, shawl, and dhoti skirt. The clothing and hair of the bodhisattva were once colorfully equipped, as suggested by remnants of red color adhering to the crown. Characterized by a swayback with projecting midri$, the slim statue breaths contemplation and control, as typi"es the air of bodhisattvas from the mid- sixth century. Characteristic of middle sixth century style is the Sini"ed interpretation of body forms that are supple and narrow in proportions. The forward thrust of the belly and lack of hips is new to late Wei and Northern Qi styles, emanating from an approach that retreats from a prominent Indian belly to one more suave and elegant, ideal and matching the calligraphic stroke of a brush. This phenomenon is best represented by extant Buddha and Bodhisattva stone-carved images from the northwest cave temple of Maijishan in Gansu province. The dress of the "gure retains its prototypical version of Northern Wei with bare upper body and dhoti drooping over the waistline at both front and back of the statue. Yet new to this third phase in the evolution of Chinese Buddhist styles is the taste for symmetry and the budding interest in decorative detail, here signi"ed by parallel ribbon panels with circular buckles aligning the skirt, as well as by the crossed ribbons of the cape on the front of the statue and hanging ribbons of the diadem. The full, squared yet oval face is interpreted with broader facial features that de"ne the Eastern Wei rather than the more narrow frame of facial features characteristic of Northern Qi. Most likely, a large cintamani !aming jewel rested at the statue’s lower back and above an inverted lotus plinth. Comparisons may also be drawn with free-standing sculptures of limestone and marble bodhisattvas from the Longxing Temple in Qingzhou, Shandong and Longhua Temple in Boxing County, and with stone cut bodhisattva images from the Pinyang Cave at Longmen grottos in Henan (Longmen shiku 1980: pl. 122) .
13. Standing Buddha Northern Wei to Eastern Wei Period 530-550 CE Marble with Gilt and Polychrome H: 28 1/2 inches w/base
This half life-size statue is a classic example of new directions taken in representing Eastern Wei images of Buddha. The statue is carved out of marble with remains of original blue and red paint, and gilding of !esh surfaces. Although the hands of the Buddha are no longer extant, from the disposition of the arms it is evident they once were held in the familiar “fear not (abhaya)” and “bringing the earth to witness (varada)” hand gestures (mudras). The Buddha wears the traditional monastic garb: an outer robe plus an inner shirt lying diagonally across the chest, and an inner dhoti skirt, visible only as a hemline at the statue’s ankles. He is clothed simply, without jewelry. A freestanding circular halo with inner lotus !ower or body mandorla once probably framed the Buddha’s head in a symbol of divinity. Protruding at the top of his head is a cranial extension, one of the thirty-two lakshana symbols sacred to the historic Buddha Sakyamuni. Hair of the Buddha and his ushnisha maintain the standard Northern Wei style de"ned by a central centripetal starburst (shape of a cakra wheel with spokes) of hair strands !anked by undulating waves of hair around the rest of the head. Folds of cloth are rendered as incised lines along the front of the cassock and their hems are treated as softly suspended symmetrical ripples, a mark of the Eastern Wei taste that does away with jagged edges of drapery typifying earlier Wei style. Although the hair retains a wave-like treatment with central whorl, tall ushnisha, and the reverse of the image is summarily treated in following Northern Wei norms, the swayback posture and projection of the head forecast new yet modest interests in movement of the mid and later sixth century. The head projects slightly forward in welcoming the devotee. Similarly the outer robe and inner dhoti begin to assume a new interest in symmetry, particularly evident in the taste for rippling hemline ends of robes and skirts. Eyelids, barely open, suggest a meditative mood yet the springing eyebrow and slight smile project inner peace and compassion. The remains of gilding and polychrome color document what originally beamed as a glowing and colorful image of Buddhism’s historical leader. The most illuminating comparisons include images still extant in the cave temples at Longmen in Henan, Gongxian, also in Henan, and at Maijishan in Gansu province (see e.g., Michael Sullivan, The Cave Temples of Maijishan, London: Faber and Faber, 1969: pl. 67).
This half life-size head of the Buddha is a model example of what Northern Qi artists achieved in sculpting locally available, white marble. Although once part of a larger composition, including a circular framing halo and slender standing columnar body, the head stands out as an exquisite example of the artistic heights reached by the mid-sixth century. The head exudes strength and tranquility, qualities embraced by both clients and devotees. The robustly de"ned head is full and naturalistically idealized. The slightly open eyes and gentle, benevolent smile express a dream-like state representative of enlightenment. The Buddha’s hair is a composition of curls resembling row upon row of pearls and contrasts with the smooth surfaces of !eshy face. The tall ushnisha type of cranial protuberance of early Northern Wei styles is lost for a mere subtle bulge covered by the same curls as the rest of the head. The slight linear spring of the eyebrows and aquiline ridge of the nose in turn contrast with the deeply undercut lips and nostrils in giving the form vigor. Comparative examples derive from temple sites in Shandong and Hebei (Zhao 2003; cover colorplate and Fig. 111, p. 98, and Figs. 92, p. 82, 110, p. 97, 117, p. 103, and 118, p. 104; also see Return 2002: "gs. 27B and C, pp.140, 142-143 and 18, p.117) and from cave temple sites at Xiangtangshan in Fengfeng, southern Hebei (see Freer Gallery of Art), and Tianlongshan, southwest of Taiyuan, Shanxi. This exquisite example of Northern Qi Buddhist art may also be compared to other stellar marble sculptures of similar date further west from cave temple sites in Bingzhou in Taiyuan, Shanxi, to temple sites in Xian, Shaanxi, as well as to museum examples (see e.g., the 53 inches tall stone statue of a standing Buddha in the Chung Tai Museum in Puli, Nantou County, Taiwan).
A half life-size, classic Northern Wei image of Buddha carved out of limestone with remains of original blue and red paint. Although the hands of the Buddha are no longer extant, from the disposition of the arms it is evident they once were held in the familiar “fear not (abhaya)” and “bringing the earth to witness (varada)” hand gestures (mudras). The Buddha wears the traditional monastic garb: an outer robe, an inner shirt secured by knotted sash across the chest, and an inner dhoti skirt, visible only as a hemline at the statue’s ankles. He is clothed simply, without jewelry. Protruding at the top of his head is a cranial extension (ushnisha), one of the ten lakshana symbols sacred to the historic Buddha Sakyamuni. Hair is de"ned by centripetal sunburst circles (shape of cakra wheel with spokes) and waving backward !owing swatches of hair. The rhythmic treatment of drapery and the angelic expression date the image stylistically to the Northern Wei of the early sixth century, the second phase in the evolution of Buddhist styles in China. Folds of cloth fall down arms and body and end in gently swaying edges. Emphasis is frontal, as revealed by the simpli"ed treatment of side and back faces of the statue. Eyelids barely open suggest a meditative mood, yet the springing eyebrow and slight smile project inner peace and compassion. The most illuminating comparisons are those made with images still extant in the Northern Wei Cave Temple at Longmen, Henan (Tokiwa Daijo and Sekino Tadashi, ed., Shina Bunka Shiseki, vol. 8, plate II-28), but as well with the monumental limestone image, at 21 feet tall, from the site of Xingguo monstery in Boxing prefecture, Shandong (Fascination and Compassion 2003: Fig. 6, p. 64, now in the Qingdao Muncipal Museum, see Return 2001: Fig. 35, p. 45).
The limestone life-size head of the bodhisattva is quintessentially Northern Qi in date. Although considerably damaged, particularly noticeable in the loss of the upper part of the crown, the body is also missing. The head nonetheless exudes con"dence and strength expressed through the rotund shape of head marked by subtle yet distinctive facial features: springing edges of eyebrows are echoed in slightly open eyes with prominent oval lids and a strongly accented aquiline ridge of nose framed by full cheeks and deeply undercut, sensuously modeled lips. From the side and back views the hair is characterized by the fashion of Northern Qi bodhisattvas. The front portion of the hair is separated into braided parts, modeled as overlapping plaits, that as long locks of hair originally extended along the shoulders. The other part of hair is caught in a high chignon at the crown of the head. The preserved part of the crown indicates an original design of large central !oral bracket !anked by similar but smaller examples encircled by beaded simulations of pearls. A equally sensuous example of Northern Qi date derives from the recent discovery of remains from Qingzhou in Shandong (see Musée Cernuschi, Les Buddhas du Shandong, Paris: Paris-Musée 2010: cover "gure and no. 26, pp.120; Musée de Qingzhou). The spectacularly beautiful body of the latter excavated statue suggests that this largescale limestone head was once bedecked with elaborate jewels and attached to a robust, strong columnar body.
This life-size marble head represents the bodhisattva Guanyin. The notable feature is the crown’s small Buddha, identifying the Buddha of the Western Paradise whom as acolyte Guanyin serves. Remaining patches of polychrome paint and encrusted gold point to a once elaborately colorful image of an original standing bodhisattva. Features identifying Northern Qi style include not only the robust delineation of a strong head and deeply undercut facial features, but also the imaginative interpretation of hair and diadem. Typically the bodhisattva is characterized by jewels, whether decorating the body as a pectoral, the neck by a torque, wrists and upper arms with bracelets, earlobes with earrings, or the forehead by a diadem attached by matching bows at the side of the head, which continue as a narrow band at the back of the head. The diadem here is an elaborate combination of lotus spitting strands of jewels, a large central lotus bud framing a small Buddha image and pearl studded festoons that loop and end in a " nal single strand of pendant pearls springing out of lotus sepals. Floral details of small hook curls symmetrically de" ne the edges of the brackets, and miniature lotuses " ll spaces at the top of the diadem. The tiny Buddha image is particularly enchanting since the deity sits lotus style against a halo, as if in command of the pearl studded festoons enshrouded within the Buddha’s drapery folds. The commanding miniature image is also set o$ by an inverted lotus petal throne, which, in turn, is supported by a plinth in the form of a ! oral jewel attached to the center of the bodhisattva’s diadem. This richly endowed headpiece is decorously matched by large circular, gold encrusted earrings shaped like rosettes. The overlapping bas-relief plaits of hair, each carefully outlined, add further pattern and texture to the richly jeweled display. In contrast, the face is tenderly modeled. Eyebrows spring above heavily lidded eyes. A long triangular nasal ridge leads to closed lips in creating an ultimate expression of control through concentration and meditation. Comparisons may be drawn with other statues and heads of Northern Qi date, particularly those remaining from temples in Hebei and Shandong (halo w/ small Buddha pls. 191-193; Zhao Puqu, Qingzhou Longxingsi fojiao zaoxiangyishu, Shandong Arts Publishers, 2003: pls. 158-159 and pls. 161-162 head detail, see below)
This half life-size limestone sculpture is an excellent example of Northern Qi creations of the historic Buddha Sakyamuni. Although the hands are missing, they may be reconstituted as ones forming the gestures of “fear not (abhaya)” and “bringing the earth to witness (varada),” by right and left hands respectively. The three-dimensional image once most likely was accompanied by a halo or body mandorla and a lotus plinth so would have stood more than several inches taller. The columnar body form with understated physicality typi"es Northern Qi expression and style. A slight swayback and abdomen bulge suggesting modest movement are elegantly complemented by a slight ripple of hemlines including shoulder throw of the robe, as well as by the large U-shaped loop with lapel opening of the outer robe and by deeply undercut cavernous hollows formed by the overlapping folds and clinging drapery along the sides of the image. Simple curving shadow lines de"ne drapery folds. The subtle emerging lotus (also identi"ed as a !aming cintamani jewel) emerges in relief at the bottom reverse of the image. The monumental e$ect of this late sixth century image is enhanced by the squarely placed bare feet, overly large head by comparison to the body, and competent modeling of facial features with airtight cheeks. Comparisons are easily drawn with Northern Qi Buddhas extant in stone-cut caves and freestanding temples of northern China, particularly Shandong (see Zhao 2003: pls. 54-55, 66, 91, 173).
This limestone painted sculpture represents the historical Buddha exercising traditional hand gestures of fear not (abhaya) and bringing the earth to witness (varada), the two virtues most commonly associated with this divinity. The statue is remarkably intact, minus what was originally an inverted lotus plinth of support at the base of the "gure. The "gural interpretation is quintessentially Northern Qi in style, compact and columnar with a large and meticulously rendered head and hair mass. The de-emphasis on physicality is shown in the androgynously slight, swayback body with bulging stomach. The traditional dress of monastic robe is thrown over the left shoulder of the Buddha, exposing the right shoulder. Drapery “clings” to the body and the folds are minimized, engraved as diagonal lines across the body and arms. No folds are identi"ed at the rear of the image. In the spirit of the age, the head is the center of expression. Calmness and inner peace are re!ected through eyes almost closed in reverie and by strongly undercut facial features. In keeping with religious codes, the Buddha’s hair is characterized by row upon row of wheeling curls and by elongated ears. The curls are uncharacteristically large, compared with other treatments of this period. The head projects forward as if to welcome a devotee. Comparisons to this limestone image of the Buddha are well represented amidst sculptures unearthed at the temple of Longxing in Qingzhou, Shandong (see e.g., Zhao 2003: Figs. 59, 80, 81, 84-87, pp. 57, 77-80; Return 2001: Fig. 24, p. 133).
This free-standing image of a bodhisattva typi" es the mid-sixth century practice for sculpting images averaging onehalf to one-third life-size. The limestone sculpture is a high quality image of the earliest phase of the Eastern Wei period. The expression is angelic and contemplative. A fully formed squared-oval head on a slender body with sloping shoulders contrasts with the intricate and rich detail rendered through softly modeled drapery folds and elaborate jewelry. Gilding is preserved on the face and other exposed body parts. Scattered remains of red and blue color adhere to hair, headdress, and clothing. Although the hands are missing, they would have represented di$ erent gestures. The image lacks physicality and the head is overly large compared to the slim body, yet the statue is three-dimensional and intended to be seen from all sides. Long strands of jewelry are cinched by a central brooch on both the front and back sides at the center of the image. Clothing typi" es the princely attire of the bodhisattva, which includes a shoulder cape, inner shirt, dhoti skirt, and a rich display of jewelry and decorated diadem. A cape lies across the shoulders and upper back, and at the front continues as drapery festoons that symmetrically cross under the brooch in creating long and large symmetrical loops for the display at front only for the overlapping X-pattern of the body jewelry. The cape’s long ribbons continue to loop over each arm and end in descending streams of waterfall patterns. Symmetry of design and textural variation of detail dominate if not overwhelm all parts of this bodhisattva’s clothing. The dhoti skirt is anything but relaxed. Vertical pleats end at top and bottom in small-scale curls representing gathered drapery folds. The strong triangulation of the hemline is rhythmically enriched by other vertical elements, in addition to the rich textural variations of jewelry, whether it be the complex ! oral arrangement of torque, thick pearl studded silken ropes of the body décor, or the echo e$ ect of head dress ribbons, three strands of hair braids de" ned at shoulder edges and overlapping plaits of hair braids. The diadem is idiosyncratic in creation. A starched high-rising diadem is crowned with jeweled circlets, and marked at the back of the head by a narrow band and above the lower portion of the hair that separates and ! ows into triplet strands of hair. This bodhisattva type is comparable the bodhisattva from the Longxing Temple in Qingzhou, Shandong that came to the United States for exhibit in 2002 (Return 2002: no. 12, p. 100). This interpretation is one variation of the creative genius for detail that characterizes stylistic variations on interpretations of the Buddha and bodhisattva images during the mid-sixth century (see below).
Standing Bodhisattva (left), Eastern Wei period, limestone with pigments, overall height 120.5 cm. Longhuasi temple site, Chongde village, Shandong.
This standing half life-size image, although lacking the right hand, features Buddha with hand gestures of “fear not” and “bringing the earth to witness.” Remains of red and blue survive on parts of the clothing, indicating that the limestone image was once colorfully painted. The Buddha is dressed typically in monastic garb, including an outer robe, inner shirt lying diagonally at chest level, and an inner dhoti skirt de"ned only by the hem that appears below that of the robe. A plinth in the shape of an inverted lotus once supported the image and added height. Characteristics of Northern Qi style appear in the Indian in!uence of “wet drapery” translated by a Chinese deemphasis of physicality and the summarized outline of arms, chest, and legs. Attention is directed to a large prominent head and meticulously de"ned details of the face. The body is slim with narrow shoulders, concave chest, and a slightly bulging lower belly, yet as with the head, the feet and hands are large and !eshy. Interest is centered on pattern: on loop shapes hanging in triple composition on the inner shirt, the lapel of the robe, and symmetrical loops of all drapery folds, rendered as doubly raised lines on front and continuing at the back in larger single loops. The geometrically oval of the head echoes this shape. The rows of small-scale wheel-like curls de"ning the mass of hair and cranial protuberance contrast in textural richness with the smooth skin of the face and quiet angelic expression of the eyes and mouth. Comparable Northern Qi standing Buddhas are plentiful from the cache hordes discovered at the Longxing Temple in Qingzhou, Shandong (see e.g., Zhao 2003: pls. 78, 83).
This standing image carved out of limestone depicts the historic Buddha Sakyamuni. The statue is intact and hand gestures (mudras) relate the well-known abhaya (fear not) and varada (bringing the earth to witness) associated with this icon. The sculpture preserves late "fth century Northern Wei characteristics, such as the proportionately large head compared to slender body and conical ushnisha (cranial protuberance) de"ned by a centripetal starburst repeated as a larger version on the deity’s hair at forehead level. New and typifying the direction of Eastern Wei style is the relaxed drapery folds that at hemline form symmetrical rivulets. The image exudes a benevolent disposition characteristic of Wei Buddha images. The head is geometrically prominent and facial features broadly de"ned. The robe is the Sini- "ed version of early sixth century styles, with no clear delineation over which shoulder the robe is thrown due to new interests in symmetrical design. The latter is immediately apparent in the large loop of the robe’s lapel at chest level and the hemline of the inner dhoti skirt. The dress of the Buddha consists of an outer robe (sanghati), an inner shirt (manifest as a diagonal at chest level), and a skirt (dhoti) manifest only in the lowest hemline rippling over the Buddha’s bare feet. A second rippling hemline is rendered between outer robe and inner dhoti hemlines on the Buddha’s right side for purely aesthetic e$ect of balance. This type of creative license will characterize the next phase of scupture, the third phase of Buddhist styles during the mid sixth century. Comparisons exist throughout the Northern and Eastern Wei periods, not only at cave temples within the province of Henan, such as Longmen and Gongxian, but as well at the far northwestern cave temples of Maijishan and Dunhuang in Gansu, and amidst various temple remains recently excavated in Shandong and Hebei provinces. The most illuminating comparisons are those made with images still extant in the Northern Wei Cave Temple at Longmen, Henan (Tokiwa Daijo and Sekino Tadashi, ed., Shina Bunka Shiseki, vol. 8, plate II-28), but as well with the monumental limestone image, at 21 feet-tall, from the site of Xingguo monstery in Boxing prefecture, Shandong (Fascination and Compassion 2003: Fig. 6, p. 64, now in the Qingdao Muncipal Museum, see Return 2001: Fig. 35, p. 45).
This limestone painted sculpture represents the historical Buddha Sakyamuni. Although the right arm, left hand, and lower body are missing, this image is quintessentially Northern Qi in style. The exposed parts of the body were once enveloped in gilt, whereas the robe was red and the hair blue. The traditional dress of monastic robe is thrown over the left shoulder of the Buddha in exposing the right shoulder. Folds of the drapery are minimized, engraved as diagonal lines across the body and arms. The underlying body and bulging belly of the statue are revealed through clinging drapery. As typi"es Northern Qi and later Sui styles, the form of the body is slim and understated by comparison to the head that is meticulously rendered and robust. In the spirit of the age, the head is the center of expression. Calmness and inner peace are re!ected through eyes almost closed in reverie and by strongly undercut facial features. In keeping with religious codes, the Buddha’s hair is characterized by row upon row of small-scale curls and by elongated ears. The head projects forward as if to welcome a devotee. Comparative Buddha images are well represented amidst sculptures unearthed at the temple of Longxing in Qingzhou, Shandong (see e.g., Zhao 2003: Figs. 59, 80, 81, 84-87, pp. 57, 77-80; Return 2001: Fig. 24, p.133).
This bodhisattva head carved out of limestone probably originated in the stone-cut cave temples of Yungang in Shanxi, or Longmen in Luoyang or Gongxian in Gong county, Henan and is of Northern Wei date. The head once formed part of a larger standing image of the bodhisattva. The back of the head is rough, showing that the original life-size image was once attached to a wall surface as part of a larger Buddhist composition. The facial features, hair style, and crown type represent the archaicizing interests of early Buddhist images, modestly Sini" ed in rendering slanting rather that round circular eyes typifying imported Indian types, yet maintaining a distinct “archaicizing” smile and sharply cut nose and eyebrows of earlier " fth century styles. Hair is divided at midline and continued into a mass at the back without braided extensions. The promientn and tall crown consist of a narrow band encircling the head and decorated with three rising triangular and abstract lotus ! owers alternating with vertical lotus buds in relief. The band and upper crown are decorated with circular rings either empty or " lled with smaller gems. This archaic version of the Northern Wei bodhisattva is matched by various other images, from cave temples at Yungang, Datong, Shanxi and Gongxian from Gongyi, Henan.
Scuptures from Yungang Cave 10, 483 CE, sandstone with pigment; Bodhisattva, Henan province, Luoyang, Gongxian Cave Temples, Cave 1, late Northern Wei dynasty, 523 CE, sandstone with traces of pigment, Freer Gallery of Art.
This life-size head of a Buddha is carved out of a green marble stone native to southern Hebei province. The sculpture is a classic example of Northern Qi and Sui aesthetics that emphasized naturalistic idealism, particularly with head and facial features. Although once belonging to a standing or seated body, the head exudes monumentality and strength. The mass of small-scale wheel-like curls characterizing the Buddha’s hair and ushnisha contrast harmoniously with the softly modeled features of the face. Aloof yet benign tranquility typi"es ones who attain Buddhahood. These qualities are expressed sculpturally in the spring of the brow and high forehead, overarching eyelids, long aquiline nose, !eshy undercut lips, bulbous cheeks, and small double chin. Northern Qi perfection is noticeable in the more humanized version of the Buddha head, emphasizing less the protruding ushnisha in favor of an integrated mass of hair in combination with the serene expression of face, lost in meditation. The purpose of the buckle indentation at the end of the earlobe is unclear. Comparisons may be drawn with the limestone sculptures decorating cave temples at Xiangtangshan, as well as unearthed "nds associated with freestanding temples elsewhere in Hebei, Henan, Shandong, Shanxi, and Shaanxi. The head is a classic rendering in marble of Northern Qi ideals (see for comparison the Northern Qi head measuring 10 3/4 inches tall from the Longxing Temple in Qingzhou, Shandong in Zhao 2003: Fig. 114, p. 101).
The half life-size, white marble statue represents the bodhisattva Maitreya seated with crossed ankles and feet positioned so that toes are !exed on top of a pair of lotus !owers. Hands are raised in opposite directions, symbolizing “fear not” and “bringing the earth to witness,” gestures, most familiar in association with Sakyamuni Buddha but also characterizing the future Buddha, Maitreya bodhisattva. A supportive rod attaches the right hand to the chest. The bodhisattva (one with knowledge of enlightenment) wears humble jewelry in the form of an ogive arch-shaped torque around the neck and a tiara crown with bows fastening ribbons hanging to left and right behind the deity’s ears. The band of the tiara-shaped headdress is continued at the back of the head and in the front it is decorated with three !oral brackets alternating with lotus buds, a familiar version characterizing other bodhisattvas of this era. Clothing consists of an outer shawl, inner shirt crossing the chest diagonally, and a dhoti skirt. The slim ribbon ends of the shawl de"ned by tripartite folds fall in a U-shape at the waist where they are bound in a simulated know. They continue their calligraphic performance by looping downwards toward the lap and up over each wrist and further downwards so they end dramatically in pleats of a soft curl at the lower plinth of the throne. The back of the dhoti skirt emerges in rippling folds at !anking edges of the ankles and feet, and it forms a triangular pleat between the legs. The throne takes the form of an hourglass shape of repeated rectangular slabs, often described as the shape of Mt. Sumeru. Clothes and dais were once brightly colored, yet exposed body parts (face, ears, neck, arms, hands, and upturned soles of the feet) may have been de"ned by the pearl white polish of the original marble stone. The simplicity of dress retains earlier Northern Wei practice, yet the lyrical expression is entirely Eastern Wei and Northern Qi in style. Ornament and body form softly modulated parts in contradistinction to the prominence of deeply undercut facial features and pudgy prominent hands and feet. The feet are particularly striking in their eccentric posture complementing the equally forceful X-crossing of the long tubular legs and torso. Comparisons derive from Northern Wei, Eastern Wei, Northern Qi, and Northern Zhou. For example, a marble stele in the Freer Gallery of Art, dated by inscription to the Northern Zhou 557-581 CE depicts on the front the Bodhisattva Maitreya (Miluo) with a reverse image of the Buddha Vairochana (Pilushena), probably deriving from Shaanxi province. Other steles depicting similar images of Maitreya include a Seated Maitreya with two feet on one big lotus plinth (see Sullivan: pl. 71 Cave 135), a stele with Maitreya as Future Buddha with crossed ankles and feet are upheld by lotuses (Cleveland Museum of Art), and another image, considerably earlier of Northern Wei date of the Bodhisattva with crossed ankles only in the Metropolitan Museum of Art. Various other comparisons derive from Longxing Temple in Qingzhou, Shandong of Eastern Wei and Northern Qi date, and in remains from the Xiude monastery in Quyang of Hebei Province (see Yang Boda, “Quyang Xiude si chutu jinian zaoxiang de yishu fengge yu tezheng,” pp. 43-52 and Compassion 2003: pl. 14, pp. 42-44, and Return 2002: Fig. 169, p. 151).
27. Seated Maitreya Bodhisattva with Pendant Legs Northern Zhou Period 557-581 CE Limestone H: 22 1/2 inches
This limestone sculpture depicts the bodhisattva Maitreya seated with pendant legs in simulation of what he will become, the future ruling icon, Buddha Maitreya. The image once belonged to a cave temple sculpture, most likely in the vicinity of Xian, Shaanxi. The back and sides are in the rough, corroborating this original location. The image is heavy and massive in form, with an excessive amount of jewelry that simulates types of Eastern Wei and Northern Qi origin, well known from further east. Bodhisattva dress includes the cape with long ribbon ends, an undershirt diagonally crossing the chest, and dhoti skirt. As typi"es a variation of the bodhisattva dress during the mid and late sixth c., the dhoti skirt may overlap a belt at waist level in multiple rippling pleats, as also characterizes the rippling hemline of this skirt. The cross-stoles of the cape form falling U-shaped folds in symmetry at the "gure’s middle and then continue over separate arms, also ending in rippling hemlines. The jewels are created out of silk ropes studded with small-scale pearls in two adjoining rows, which alternate with rosette-shaped metal simulated clasps. A central large rosette holds the central necklace in place and part of this strand is held in a loop in the "gure’s left hand. Centrality and symmetry are continued in the vertical strand of interlocking rings extending from a neck torque and splitting into two further loops under the knees. The tiara forms a double layer of !oral brackets, lotus forms, and rosettes. Tied at either side are prominent bows with ribbons extensions. Northern Zhou artists carved deities with compact, block-like bodies, and stern faces in combination with a rich and ostentatious display of jewelry. Ponderous drapes and disregard for realism of bodily form characterize the art of northwest sculptures. Comparisons may be drawn with Shaanxi sculptures from rock-cut cli$s of the Yaowang Mountains in Yao County and elsewhere from Cave 4 at Maijishan Grottoes, Tianshui, Gansu.
This near life-size image, carved out of limestone and once brightly painted with hues of green, blue, red, and white represents the Buddhist bodhisattva. Both hands and potential identifying attributes are missing. Portions just below the arms of the cape’s drapery extensions are also missing. Although weathered, the image retains a statuesque beauty as sculpture in the round. Slim with a feminine air, the image conveys equanimity and nobility. Deep in reverie, the eyelids barely open. Shoulders are narrow and body forms are understated yet gently modulated. Based on the aristocratic dress of the prototype of the bodhisattva, the Indian prince, the enlightened savior is bedecked with ornaments, ranging from a high diadem and an intricate complex of a necklace, hanging body jewels, shawls ending in long sinuous ribbons, and divided hair extending as three separate braids di$ering in length in forming triangular peaks in pro"le along the shoulders. Hair is drawn upwards in a high chignon bundled into a thick topknot spiral just behind the headdress. The diadem (attached at the back by a band) sits at the front of the head, secured by side bows, and composed of a large central lotus bracket with three pendant jewels, which is repeated in smaller scale on the left and right sides. Other jeweled parts of the costume include the metal simulated torque, the double rows of pearls alternating with metal simulated ornaments or gems held together by a large central metal simulated brooch, and the continuation of the same strands in loops down the lower body. Addition ornaments appear extending from the upper body sash below the brooch as a double folded ribbon with its own simulated metal star bursting ornament. Additional suspended ribbons with rings hang down the skirt underneath the loops of crossing scarves and body necklace. The same attention to dhoti skirt and ornament characterize the back of the image. Although the face is more severe and broad in interperetation than typical Northern Qi faces, the elegance of the statue is "nessed by understated yet naturalistic form in keeping with mid-sixth century norms: a prominent head, round and robust, rests on a body with pinched waist, small hips, and elongated legs. Fleshy parts including head, hands, and bare feet are slightly larger and more emphatically emphasized. The "gure is similar to some limestone carved Bodhisattva images discovered amidst the ruin of the Longxing Monastery in Qingzhou, Shandong Province. For two examples of Northern Qi bodhisattva "gures with similar jeweled crown and other ornamentations, see Hong Kong Museum of Art, ed., Buddhist Sculptures: New Discoveries from Qingzhou, Shandong Province, p. 279, 281.
29. Standing Buddha Late Northern Wei / Eastern Wei Period 530-550 CE Limestone H: 31 3/4 inches
This limestone image with remains of original blue and red paint represents the historical Sakyamuni Buddha. Although the hands of the deity are no longer extant, from the disposition of the arms it is evident they once were held in the familiar “fear not (abhaya)” and “bringing the earth to witness (varada)” hand gestures (mudras). The Buddha wears the traditional monastic garb: an outer robe, an inner shirt secured by knotted sash across the chest, and an inner dhoti skirt, visible only as a hemline at the statue’s ankles. He is clothed simply, without jewelry. Protruding at the top of his head is a slightly damaged cranial extension (ushnisha), one of the ten major lakshana symbols sacred to the historic Buddha. The rhythmic treatment of drapery and the angelic expression date the image stylistically to the Wei of the early to mid sixth century. Folds of cloth fall in rhythmical furrows over and down the arms and body, and end in symmetrical curling wave-like ripples. Emphasis is not entirely frontal, as revealed by the swayback posture of slightly projecting belly, forward thrust of head, and by the delightful bas-relief rendering of the large lotus bud (or !aming jewel) emerging as if miraculously at the bottom rear of the "gure. Other features document new interests of Eastern and Western Wei Buddha images. The hair and ushnisha are newly de"ned, not by waves inherited from a previous Gandharan Indian type, but by a mass of small-scale similar size cakra wheel curls (historically called ringlets). Barely open eyelids suggest a meditative mood yet the springing eyebrow and slight smile project inner peace and compassion. Other new elements presaging a third movement in the development of Buddhist styles is the more proportional relationship between size of head and body than the earlier Northern Wei style. There is also greater emphasis on symmetry and movement of drapery folds. The inner shirt sash of the skirt undulates in creating an assymetrical rhythm of its own. The most illuminating comparisons are those made with images still extant in the Northern Wei Cave Temple at Longmen, Henan, but as well with the monumental limestone image, at 21 feet-tall, from the site of Xingguo monastery in Boxing prefecture, Shandong (Fascination and Compassion, 2003: Fig. 6, p. 64, now in the Qingdao Muncipal Museum, see Return 2001: Fig. 35, p. 45).
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Published on the occasion of the exhibition:
Northern Dynasties Early Chinese Buddhist Sculpture Ca. 387-577 CE
March 2016
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Project Manager/Design: Norberto L. Rivera Photography: Oren Eckhaus/Hendrik Smildiger
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ISBN #978-0-692-03187-2
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