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This imposing Buddha dates from the dynamic
period surrounding the second half then collapse
of the M’ing Dynasty, and the rise of the Q’ing.
This period spans the 15th to 17th centuries AD,
and saw many of the most important
developments in Chinese culture. The M’ing,
founded in 1368 under the peasant emperor
Hong Wu, was a militarily oriented socio-political
entity much given to radical interpretations of
Confucianism and with a very strong defensive
ethos (the Great Wall dates to this period).
However by the 17th century cracks had started
to appear, young male heirs being manipulated
as puppets by the ruling families, and the court
became rotten with intrigue. To compound
matters, the Manchurian Chinese cities were
being attacked by local groups – dubbed the
Manchus – who eventually invaded China and
deposed the old regime. The last M’ing emperor,
Chongzhen, hanged himself on Coal Hill
overlooking the Forbidden City, bringing an end
to his line and ushering in the Q’ing dynasty.
The Q’ing had been founded by Nurhaci in the
early 17th century, and persisted until the
collapse of imperial China in 1912 with the
hapless Pu-Yi, the last emperor of China. Their
isolationist policies, social control (all men
required to shave their heads, wear queues, and
wear Manchu rather than traditional Chinese
dress) introspection and cultural conservatism
was at odds with their liberality in certain social
issues – such as forbidding the binding of
women’s feet (later withdrawn due to social
pressure from the populace). However, this
cultural inflexibility – which grew as the
emperors grew increasingly unaware of the world
outside their palace walls, much less the
country’s borders – was a difficult stance to
maintain in the shadow of the European
thalassocracies, and it may have been this which
helped hasten the demise of the Imperial system.
The M’ing and the Q’ing dynasties were highly
creative times, seeing the appearance of the first
novels written in the vernacular, considerable
development in the visual arts and outstanding
craftsmanship in all fields. The present sculpture
is a case in fact, and it is perhaps somewhat
disarming to reflect that this peaceful figure
dates from a period of such spectacular turmoil.
The Buddha represented is the Vairocana variant
– that is, the divine universal aspect of Sakiamuni
Buddha. He is seated in yogic posture, his legs
folded in padnasanam (lotus position), the left
hand resting flat on the knee (unusually) and the
right hand raised in vitarka mudra (gesture of
debate with the forefinger tip touching the
thumb). The face has been beautifully carved into
a mask of imperturbable serenity and reflection,
framed by the long earlobes and the hair, which
has been gathered into small, serrated spikes
that cover the head like a helmet. The only part
exposed is the supracranial eminence
traditionally associated with Buddha’s wisdom
and sagacity. The drapery is simple, and robustly
carved. It comprises a tunic tied at the waist with
a long flowing robe that hangs to the waist and
is gathered to cover the legs. The chest is bare.
The Buddha is otherwise unadorned, which is
appropriate given his penchant for simplicity and
purity, and at odds with the more decorated
Bodhisattva sculptures. The impact of the piece
is boosted by its large size (38” tall), which gives
it a powerful and magisterial presence. This is a
true sculptural gem that deserves pride of place
in a serious collection, or in any context where
its beauty can be fully appreciated.
- (X.0707 (LSO))
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