Buddhism
See also : India China Early Buddhist sculpture Northern Song Southern Song and Yuan Early Ming Later Ming Ming porcelain Ancient sculpture Chinese art Chinese calligraphy Religious texts Textiles
Chronology : 1000-1300 14th century 15th century 1400-1429 1430-1459 1460-1479 1610-1619
Chronology : 1000-1300 14th century 15th century 1400-1429 1430-1459 1460-1479 1610-1619
A Liao Buddha
2016 SOLD for € 13.6M including premium by Christie's
narrated in 2020
In 907 CE the fall of the Tang creates a political fragmentation of China, opening the period of the Five Dynasties. The Liao dynasty dominates for two centuries a vast territory from northern China to Mongolia.
In this period, Buddhist iconography is inspired by Tang figures. Gradually, the return of apocalyptic predictions brings a need to protect the knowledge and strengthens the worship of Maitreya.
Many figures are in painted wood or in clay. Gilded bronze is very rare and reserved for pieces of the utmost luxury. A 21 cm high deity from the beginning of this period, who may be Avalokitesvara or Maitreya, was sold for $ 2.5M including premium by Christie's on March 19, 2008.
A Vairocana Buddha 24 cm high in gilded solid bronze was sold for € 13.6M including premium by Christie's on December 14, 2016, lot 53. This piece, made in the 11th century CE, bears an administrative Liao inscription, unfortunately undated, which attests to its importance.
This figure has some exceptional characteristics. Vairocana is the primordial Buddha. His high tiara is centered with an image of Buddha and integrates into the crown the five cosmic Buddhas, the Tathagatas. His fists are joined in the gesture of knowledge. He is seated on a lotus whose stylized leaves are curiously overflowing. The figuration of jewelry and drapery is luxurious.
In this period, Buddhist iconography is inspired by Tang figures. Gradually, the return of apocalyptic predictions brings a need to protect the knowledge and strengthens the worship of Maitreya.
Many figures are in painted wood or in clay. Gilded bronze is very rare and reserved for pieces of the utmost luxury. A 21 cm high deity from the beginning of this period, who may be Avalokitesvara or Maitreya, was sold for $ 2.5M including premium by Christie's on March 19, 2008.
A Vairocana Buddha 24 cm high in gilded solid bronze was sold for € 13.6M including premium by Christie's on December 14, 2016, lot 53. This piece, made in the 11th century CE, bears an administrative Liao inscription, unfortunately undated, which attests to its importance.
This figure has some exceptional characteristics. Vairocana is the primordial Buddha. His high tiara is centered with an image of Buddha and integrates into the crown the five cosmic Buddhas, the Tathagatas. His fists are joined in the gesture of knowledge. He is seated on a lotus whose stylized leaves are curiously overflowing. The figuration of jewelry and drapery is luxurious.
#AuctionResult: Statue du Bouddha Vairocana vendue pour 13,570,500€ chez #ChristiesParis #worldrecord pour un bronze Liao pic.twitter.com/mHBTfyEVwJ
— Christie's Paris (@christiesparis) December 14, 2016
The Charming Pala Prince
2017 SOLD for $ 24.7M including premium
The dynasty which reigned through four centuries over Bengal and Bihar is identified as Pala, a suffix meaning "protector" that was added to the personal name of each monarch.
Three religions cohabitated : Hinduism, Buddhism and Jainism. They shared a same preoccupation of regulating the communication between the divine and the mortal. In Buddhism this function is assured by the bodhisattva Avalokiteshvara.
On March 14 in New York, Christie's sells as lot 233 a statue realized in the later phase of the Pala period around 900 years ago.
The young man sits on a thick lotus, one leg bent and the other hanging. This figure is carved in a black stone similar to a schist which was widely used in the Pala steles and whose hardness enables a great sharpness of sculpture.
He necessarily has all the qualities. The spectacular dynamism of the attitude appeals to dialogue with the faithful. He is a prince elegantly dressed with a profusion of pectoral jewels chiseled in the stone but he also is an ascetic recognizable by his braided hair. His belonging to Buddhism is identified by Amitabha hidden in a fold of the tiara : he is altogether Avalokiteshvara, the all-seeing lord, and Lokanatha, the savior of the world.
The character is life-size in this 148 cm high statue. Such characteristics unusual in Buddhist art suggests that it was the main devotional figure in a temple specially dedicated to Avalokiteshvara.
It was from 1922 an important piece in the collection of Indian art of the Boston Museum before being de-accessionned in 1935 for a trade with another statue of the same culture. The arms and nose were missing. The nose was later rebuilt.
Three religions cohabitated : Hinduism, Buddhism and Jainism. They shared a same preoccupation of regulating the communication between the divine and the mortal. In Buddhism this function is assured by the bodhisattva Avalokiteshvara.
On March 14 in New York, Christie's sells as lot 233 a statue realized in the later phase of the Pala period around 900 years ago.
The young man sits on a thick lotus, one leg bent and the other hanging. This figure is carved in a black stone similar to a schist which was widely used in the Pala steles and whose hardness enables a great sharpness of sculpture.
He necessarily has all the qualities. The spectacular dynamism of the attitude appeals to dialogue with the faithful. He is a prince elegantly dressed with a profusion of pectoral jewels chiseled in the stone but he also is an ascetic recognizable by his braided hair. His belonging to Buddhism is identified by Amitabha hidden in a fold of the tiara : he is altogether Avalokiteshvara, the all-seeing lord, and Lokanatha, the savior of the world.
The character is life-size in this 148 cm high statue. Such characteristics unusual in Buddhist art suggests that it was the main devotional figure in a temple specially dedicated to Avalokiteshvara.
It was from 1922 an important piece in the collection of Indian art of the Boston Museum before being de-accessionned in 1935 for a trade with another statue of the same culture. The arms and nose were missing. The nose was later rebuilt.
#AsianArtWeek : du 14 au 17 mars @ChristiesInc organise une série de ventes consacrées à l’art d’Asie https://t.co/RTGNrQolil pic.twitter.com/ampK2u6qRS
— Christie's Paris (@christiesparis) March 13, 2017
1193 A Kamakura Buddha
2008 SOLD for $ 14.4M including premium by Christie's
narrated in 2020
In 1185 CE the Kamakura period succeeds the Heian period. The aristocracy has lost power and the Buddhist figuration is transformed, for a more monumental and popular vision.
The top artists of this transition are Kokei and his son Unkei, who are from Nara and work for the main Japanese temples. Unkei began his career before 1176 as an apprentice to his father, whom he succeeded around 1195 as the schoolhead of the Kei family.
Their figures are made of wood, assembling many elementary parts with joinery techniques. Unkei departs from the Buddhist canon by making male figures of great expressive power. He also innovates by inserting crystals in the eyes. His statuettes are hollow to contain relics, often including a wooden plaque that identifies the artist and the date.
In 2000, in an antique shop somewhere in the Japanese countryside, a collector is astonished by a wooden figure 66 cm high, which he manages to buy. The piece does not have the weight of solid wood. It is gold lacquered with pigment conservation, and the jewelry ornaments are in hammered metal. It was probably taken out of a temple during the promotion of Shinto in the Meiji period.
Three years later, the curator of sculptures at the National Museum of Tokyo confirms that this piece perfectly matches Unkei's style. Because of its fairly large size, experts consider that it can correspond to a work by Unkei made in 1193 for a funeral memorial.
The figure was perfectly sealed and has not been disassembled. By X-ray inspection, three relics are identified in its cavity : the plaque, which could not be read, a five-stage crystal pagoda symbolizing the material elements, and a crystal ball.
It matches the iconography of Dainichi Nyorai who can be indifferently considered as a Buddha or a Bodhisattva. The gesture of two closed fists one above the other and joined by the index finger of the lower hand symbolizes the knowledge.
This Japanese Buddha was sold for $ 14.4M including premium by Christie's on March 18, 2008, lot 200.
The top artists of this transition are Kokei and his son Unkei, who are from Nara and work for the main Japanese temples. Unkei began his career before 1176 as an apprentice to his father, whom he succeeded around 1195 as the schoolhead of the Kei family.
Their figures are made of wood, assembling many elementary parts with joinery techniques. Unkei departs from the Buddhist canon by making male figures of great expressive power. He also innovates by inserting crystals in the eyes. His statuettes are hollow to contain relics, often including a wooden plaque that identifies the artist and the date.
In 2000, in an antique shop somewhere in the Japanese countryside, a collector is astonished by a wooden figure 66 cm high, which he manages to buy. The piece does not have the weight of solid wood. It is gold lacquered with pigment conservation, and the jewelry ornaments are in hammered metal. It was probably taken out of a temple during the promotion of Shinto in the Meiji period.
Three years later, the curator of sculptures at the National Museum of Tokyo confirms that this piece perfectly matches Unkei's style. Because of its fairly large size, experts consider that it can correspond to a work by Unkei made in 1193 for a funeral memorial.
The figure was perfectly sealed and has not been disassembled. By X-ray inspection, three relics are identified in its cavity : the plaque, which could not be read, a five-stage crystal pagoda symbolizing the material elements, and a crystal ball.
It matches the iconography of Dainichi Nyorai who can be indifferently considered as a Buddha or a Bodhisattva. The gesture of two closed fists one above the other and joined by the index finger of the lower hand symbolizes the knowledge.
This Japanese Buddha was sold for $ 14.4M including premium by Christie's on March 18, 2008, lot 200.
Yuan Dynasty - Heart Sutra by Zhao Mengfu
2017 SOLD for RMB 190M including premium by Poly
narrated in 2020
The greatest masters of calligraphy pass on their knowledge to the literati. Under the Jin in the 4th century CE, Wang Xizhi achieves the supreme elegance with cursive calligraphy, to which his son Wang Xianzhi brings fluidity by writing each character in a single brush stroke.
Active after the fall of the Song in 1279 CE, Zhao Mengfu is a prince-artist who belongs to the fallen dynasty. Poet, jurist, painter and calligrapher, he combines the strict clarity of regular calligraphy with the expressiveness of semi-cursive calligraphy. Despite the ambiguity of his political engagement under the Yuan, his calligraphy has always been considered exemplary. Zhao is one of the greatest calligraphers of all time.
Zhao is a Buddhist. The Heart Sutra is perfect for serving as a model for two reasons. It is the shortest of the Sutras and its most classic version fits in five or six sheets. It is especially appreciated in China because its oldest known version is in Chinese language.
Several pieces calligraphed by Zhao are known. After a long career, he dies in 1322 CE at the age of 68, and these works cannot be dated with precision. An ancient legend shows the artist copying a Heart Sutra to exchange it with a monk for tea.
A Heart Sutra by Zhao Mengfu was sold for RMB 190M including premium by Poly on December 17, 2017, lot 3535. This piece is a five-sheet 28.6 x 12 cm album, with no drawing added. The five sheets are illustrated twice in the post-sale article by The Value.
Active after the fall of the Song in 1279 CE, Zhao Mengfu is a prince-artist who belongs to the fallen dynasty. Poet, jurist, painter and calligrapher, he combines the strict clarity of regular calligraphy with the expressiveness of semi-cursive calligraphy. Despite the ambiguity of his political engagement under the Yuan, his calligraphy has always been considered exemplary. Zhao is one of the greatest calligraphers of all time.
Zhao is a Buddhist. The Heart Sutra is perfect for serving as a model for two reasons. It is the shortest of the Sutras and its most classic version fits in five or six sheets. It is especially appreciated in China because its oldest known version is in Chinese language.
Several pieces calligraphed by Zhao are known. After a long career, he dies in 1322 CE at the age of 68, and these works cannot be dated with precision. An ancient legend shows the artist copying a Heart Sutra to exchange it with a monk for tea.
A Heart Sutra by Zhao Mengfu was sold for RMB 190M including premium by Poly on December 17, 2017, lot 3535. This piece is a five-sheet 28.6 x 12 cm album, with no drawing added. The five sheets are illustrated twice in the post-sale article by The Value.
The Buddhist Legitimacy of the Yongle Emperor
2014 SOLD for HK$ 350M including premium
Hongwu had founded the Ming Dynasty by relying upon Buddhist sects. His fourth son, the Prince of Yan, was an able and competent general. Too competent indeed : the old emperor found a subterfuge for removing him from the rule of succession.
The Prince took power in a coup four years later, 1402 in our calendar. His nephew, who perished in the fire of the imperial palace after having revived the feudal war, was scholar minded and supported by the Confucians. The new emperor erased from the annals the reign of his predecessor of whom he massacred the followers, took the name Yongle meaning Perpetual Happiness and immediately began to prepare for the transfer of the capital from Nanking to Beijing.
The ambitious Yongle could not appear as a usurper : he offered to himself a Buddhist legitimacy. He invited the Karmapa, who was one of the most important sages of Tibetan Buddhism and got his power through reincarnation.
The trip of the Karmapa from Tibet to Nanking lasted four years, during which Yongle organized the Buddhist tribute to his deceased parents and prepared lavish gifts. The stories of miracles performed by the Karmapa were propagated and contributed effectively to assure the power of Yongle, now firmly established as Hongwu's heir.
On November 26 in Hong Kong, Christie's sells a wonderful silk thangka embroidered with silk and gold threads, lot 3001. This monumental piece 3.35 x 2.13 m is in perfect condition with bright colors of great beauty.
According to the concerns of Yongle, its theme is the victory over death. The central character with a bright red head is Raktayamari, the Conqueror of Death, who embraces his wife and mercilessly tramples the blue body of Yama the Lord of Death lying on the back of a buffalo. The top and bottom of the image display some deities inviting to Buddhist devotion.
This piece includes the presentation mark of Yongle. The existence of two thangkas of same quality in a monastery in Lhasa along with the fact that the thangka for sale was in Sikkim in the 1940s reinforces the assumption that it had actually accompanied the Karmapa in his return trip.
The Prince took power in a coup four years later, 1402 in our calendar. His nephew, who perished in the fire of the imperial palace after having revived the feudal war, was scholar minded and supported by the Confucians. The new emperor erased from the annals the reign of his predecessor of whom he massacred the followers, took the name Yongle meaning Perpetual Happiness and immediately began to prepare for the transfer of the capital from Nanking to Beijing.
The ambitious Yongle could not appear as a usurper : he offered to himself a Buddhist legitimacy. He invited the Karmapa, who was one of the most important sages of Tibetan Buddhism and got his power through reincarnation.
The trip of the Karmapa from Tibet to Nanking lasted four years, during which Yongle organized the Buddhist tribute to his deceased parents and prepared lavish gifts. The stories of miracles performed by the Karmapa were propagated and contributed effectively to assure the power of Yongle, now firmly established as Hongwu's heir.
On November 26 in Hong Kong, Christie's sells a wonderful silk thangka embroidered with silk and gold threads, lot 3001. This monumental piece 3.35 x 2.13 m is in perfect condition with bright colors of great beauty.
According to the concerns of Yongle, its theme is the victory over death. The central character with a bright red head is Raktayamari, the Conqueror of Death, who embraces his wife and mercilessly tramples the blue body of Yama the Lord of Death lying on the back of a buffalo. The top and bottom of the image display some deities inviting to Buddhist devotion.
This piece includes the presentation mark of Yongle. The existence of two thangkas of same quality in a monastery in Lhasa along with the fact that the thangka for sale was in Sikkim in the 1940s reinforces the assumption that it had actually accompanied the Karmapa in his return trip.
Gilt Bronze of Shakyamuni Buddha
2013 SOLD for HK$ 236M by Sotheby's
Yongle, the third emperor of the Ming Dynasty, is one of the most remarkable of all the emperors of China. A formidable autocrat and an uncompromising military, he was however a protector of all cultural trends and all religions of China.
At the beginning of his reign, 600 years ago, his sympathy for Buddhism is clearly stated. Relying on a meeting with an important Tibetan scholar, it is accompanied by the announcement of miracles.
Nothing is simple with the Yongle emperor. His personal preference went certainly to Confucianism, and such a pro-Buddhist movement could be a strategy to reduce the influence of the Yuan.
The gilt bronze Buddhist figures reach their supreme refinement during the reign of Yongle. The perfection of expressions and attitudes is worthy of the purity of Buddha. The thick double lotus base allows him to dominate his audience while retaining a seated pose.
The massive statues reach a perfection of casting, form, proportions and aesthetic grace. They are more frequent in the Yongle reign due to his policy of imperial export and presentation of Buddhist sculptures to Tibet which was discontinued by the Xuande emperor. They are very rare in large size.
On October 8, 2013, Sotheby's sold for HK $ 236M from a lower estimate of HK $ 50M a statue 55 cm high with the mark of Yongle, lot 3075. The absence of color traces goes against the Tibetan tradition and suggests that this Buddha was designed for the use of the imperial court.
Seated on a double lotus, Shakyamuni Buddha displays an attitude of complete serenity. His eyelids are closed despite the temptation from the demons in the last events preceding his enlightenment. A hand towards the ground shows that he does not forget the realities.
Buddha is omnipotent. He plays all the roles to lead the faithful on his way. His most popular figures are Shakyamuni, reminiscent of his historical preaching, and Amitabha who invites the souls on the way to paradise. The Buddha healer of the bodies, Bhaishajyaguru, is more rare.
On March 20, 2014, Christie's sold for $ 5.5M a Bhaishajyaguru 28 cm high with the Yongle imperial mark. Smiling but a little stiff in his role as a teacher, this Medicine Buddha offers the myrobalan, an obsolete wording naming the dried fruit for pharmaceutical use. In one hand he carries a pot. To display his symbol, he takes with elegance a single fruit between thumb and index fingers of the other hand.
A 57 cm high figure of Amitayus with the Xuande mark was sold for HK $ 70M by Christie's on May 31, 2010, lot 1961. Amitayus is the Buddha of infinite life. The serene deity is seated on a lotus base. The legs are crossed. The hands are joined over the lap with raised thumbs as a sign of meditation, the rounded face with eyes downcast is benevolent. His majesty is represented by the eight leaf crown and the abundant jewel chains radiating on the bare torso. Exquisite details include the hair swept back in a topknot.
This period of magnificent Buddhist art terminates in 1436 CE when overpopulating monks are expelled from the capital by a new emperor.
At the beginning of his reign, 600 years ago, his sympathy for Buddhism is clearly stated. Relying on a meeting with an important Tibetan scholar, it is accompanied by the announcement of miracles.
Nothing is simple with the Yongle emperor. His personal preference went certainly to Confucianism, and such a pro-Buddhist movement could be a strategy to reduce the influence of the Yuan.
The gilt bronze Buddhist figures reach their supreme refinement during the reign of Yongle. The perfection of expressions and attitudes is worthy of the purity of Buddha. The thick double lotus base allows him to dominate his audience while retaining a seated pose.
The massive statues reach a perfection of casting, form, proportions and aesthetic grace. They are more frequent in the Yongle reign due to his policy of imperial export and presentation of Buddhist sculptures to Tibet which was discontinued by the Xuande emperor. They are very rare in large size.
On October 8, 2013, Sotheby's sold for HK $ 236M from a lower estimate of HK $ 50M a statue 55 cm high with the mark of Yongle, lot 3075. The absence of color traces goes against the Tibetan tradition and suggests that this Buddha was designed for the use of the imperial court.
Seated on a double lotus, Shakyamuni Buddha displays an attitude of complete serenity. His eyelids are closed despite the temptation from the demons in the last events preceding his enlightenment. A hand towards the ground shows that he does not forget the realities.
Buddha is omnipotent. He plays all the roles to lead the faithful on his way. His most popular figures are Shakyamuni, reminiscent of his historical preaching, and Amitabha who invites the souls on the way to paradise. The Buddha healer of the bodies, Bhaishajyaguru, is more rare.
On March 20, 2014, Christie's sold for $ 5.5M a Bhaishajyaguru 28 cm high with the Yongle imperial mark. Smiling but a little stiff in his role as a teacher, this Medicine Buddha offers the myrobalan, an obsolete wording naming the dried fruit for pharmaceutical use. In one hand he carries a pot. To display his symbol, he takes with elegance a single fruit between thumb and index fingers of the other hand.
A 57 cm high figure of Amitayus with the Xuande mark was sold for HK $ 70M by Christie's on May 31, 2010, lot 1961. Amitayus is the Buddha of infinite life. The serene deity is seated on a lotus base. The legs are crossed. The hands are joined over the lap with raised thumbs as a sign of meditation, the rounded face with eyes downcast is benevolent. His majesty is represented by the eight leaf crown and the abundant jewel chains radiating on the bare torso. Exquisite details include the hair swept back in a topknot.
This period of magnificent Buddhist art terminates in 1436 CE when overpopulating monks are expelled from the capital by a new emperor.
Yongle Holy Water Vessel
2016 SOLD for HK$ 100M by Sotheby's
A type of ewer from the Yongle period is known in three pieces, all of them in blue and white. Its shape is highly unusual, with its body set in its lower part with a raising spout, very long, tapered and facetted, ending in a lipped rim, without a handle.
This vessel is beautifully pouring in a thin and elegant stream, certainly not for palace use but for a ceremonial use. The Yongle emperor was a devout Buddhist. Such a holy water vessel was admired by the Qianlong emperor who commented it with a Buddhist phrase.
Specialists are considering that monochrome white porcelains would have been preferred for Buddhist rituals. Indeed a fragmentary piece has been reconstituted from sherds in the Yongle kiln stratum at Jingdezhen.
One of the three examples was sold for HK $ 100M from a lower estimate of HK $ 35M by Sotheby's on April 5, 2016, lot 15. The cobalt decoration of the pear shaped body is made of hibiscus bloom heads amidst arabesques of leaves. The spout and the unusual stepped foot are painted with stylized lotuses.
This vessel is beautifully pouring in a thin and elegant stream, certainly not for palace use but for a ceremonial use. The Yongle emperor was a devout Buddhist. Such a holy water vessel was admired by the Qianlong emperor who commented it with a Buddhist phrase.
Specialists are considering that monochrome white porcelains would have been preferred for Buddhist rituals. Indeed a fragmentary piece has been reconstituted from sherds in the Yongle kiln stratum at Jingdezhen.
One of the three examples was sold for HK $ 100M from a lower estimate of HK $ 35M by Sotheby's on April 5, 2016, lot 15. The cobalt decoration of the pear shaped body is made of hibiscus bloom heads amidst arabesques of leaves. The spout and the unusual stepped foot are painted with stylized lotuses.
1430 Imperial Wisdom
2018 SOLD for HK$ 240M including premium
The calligraphy of the Sutras of Mahayana Buddhism is an act of piety welcomed for education and enlightenment. When the patron or the user is an emperor, the manuscript reaches a luxury unmatched in its class.
A gold ink on dark blue paper is sumptuous. A Lotus Sutra handwritten in 1345 CE for the education of a child emperor of Korea was sold for HK $ 31.6M including premium by Sotheby's on May 30, 2016. The lot consisted of seven big albums.
Buddhism is essential for the consolidation of the Ming dynasty. After the death of the warrior emperor Yongle, his Buddhist advisers organize a period of peace. The very short reign of the Hongxi emperor initiates the necessary reforms. His son the Xuande emperor can satisfy his artistic talents and grant to Buddhism a preference devoid from political intents.
During the fifth year of his reign, 1430 CE, Xuande commissioned an Elder of the State named Huijin to calligraphy four great Sutras. The paper is covered with dark indigo ink mixed with goat brain. This thick, brilliant and strong layer allows the gold to stay on the surface without diffusing into the paper fibers. This biological constituent is an emulsifier similar to egg white in the tempera paint.
All the four Sutras are realized. Two are kept at the National Palace Museum in Taipei. The third was probably early lost in a fire after being presented to a monastery founded with Xuande's sponsorship.
Two cases containing five consecutive albums each from the Sutra of transcendent wisdom or prajnaparamita have survived. In addition to the calligraphy, the work includes illustrations in thin gold lines of Buddhist, imperial and esoteric figures including Buddhas, dragons and demons. This set will be sold by Sotheby's in Hong Kong on April 3, lot 101. The rest of this very long Sutra is lost.
Please watch the video shared by Sotheby's.
A gold ink on dark blue paper is sumptuous. A Lotus Sutra handwritten in 1345 CE for the education of a child emperor of Korea was sold for HK $ 31.6M including premium by Sotheby's on May 30, 2016. The lot consisted of seven big albums.
Buddhism is essential for the consolidation of the Ming dynasty. After the death of the warrior emperor Yongle, his Buddhist advisers organize a period of peace. The very short reign of the Hongxi emperor initiates the necessary reforms. His son the Xuande emperor can satisfy his artistic talents and grant to Buddhism a preference devoid from political intents.
During the fifth year of his reign, 1430 CE, Xuande commissioned an Elder of the State named Huijin to calligraphy four great Sutras. The paper is covered with dark indigo ink mixed with goat brain. This thick, brilliant and strong layer allows the gold to stay on the surface without diffusing into the paper fibers. This biological constituent is an emulsifier similar to egg white in the tempera paint.
All the four Sutras are realized. Two are kept at the National Palace Museum in Taipei. The third was probably early lost in a fire after being presented to a monastery founded with Xuande's sponsorship.
Two cases containing five consecutive albums each from the Sutra of transcendent wisdom or prajnaparamita have survived. In addition to the calligraphy, the work includes illustrations in thin gold lines of Buddhist, imperial and esoteric figures including Buddhas, dragons and demons. This set will be sold by Sotheby's in Hong Kong on April 3, lot 101. The rest of this very long Sutra is lost.
Please watch the video shared by Sotheby's.
1473 Gilt Bronze Figure of Vajrabhairava
2021 SOLD for € 14M by Nagel
A 94 cm high monumental fire-gilded bronze Buddhist figure was sold for € 14M by Nagel on June 23, 2021. It is illustrated in the post sale release by Barnebys.
It features Vairabhairava, an emanation of the bodhisattva Manjushri. With its buffalo head, 8 secondary heads, 34 arms and 16 legs, this deity is equipped to win over death.
This piece weighs 169 Kg including 10 Kg of gilding. It bears the Chenghua Imperial mark and is inscribed with its dedication date on the 2nd day of the 11th month of the 9th year of that reign, 1473 CE. It is guessed that it had been commissioned by the principal concubine of the Chenghua emperor.
It features Vairabhairava, an emanation of the bodhisattva Manjushri. With its buffalo head, 8 secondary heads, 34 arms and 16 legs, this deity is equipped to win over death.
This piece weighs 169 Kg including 10 Kg of gilding. It bears the Chenghua Imperial mark and is inscribed with its dedication date on the 2nd day of the 11th month of the 9th year of that reign, 1473 CE. It is guessed that it had been commissioned by the principal concubine of the Chenghua emperor.
Nie zuvor war auf deutschem Boden eine höhere Summe für ein Kunstobjekt erzielt worden.
— Barnebys.de (@Barnebysde) June 25, 2021
1615 Eighteen Luohans by Wu Bin
2009 SOLD for RMB 170M including premium by Poly
narrated in 2021
The original followers of Buddha are named Arhats in India and Luohans in China. They have a personal name and specific attributes. Their traditional number, eighteen, is not fixed by a sacred text. They have been admitted to Nirvana.
Wu Bin, who was a very skilled landscape artist in the Wanli era, was also a caricaturist. He was a devout Buddhist while remaining secular. He loved to ridicule the Luohans, therefore assessing that they were human beings.
The MET has a 32 x 415 cm scroll with sixteen Luohans. It bears a date corresponding to 1591 CE, and is arguably one of Wu Bin's earliest works on this subject. The serious and grotesque characters are stylized, but they are all different one another.
The Cleveland Museum of Art has an undated scroll 38 x 2500 cm by Wu Bin featuring 500 Luohans with 18 assistants plus Guanyin. They exercise their powers in an endless variety of situations. They know how to tame tigers and dragons, walk on water, fly on the back of a crane.
On November 22, 2009, Poly sold a 31 x 570 cm scroll by Wu Bin for RMB 170M including premium from a lower estimate of RMB 20M, lot 5125. It is referenced and illustrated in an article published in 2020 by The Value.
A date inscribed in the work corresponds to 1615 CE. The eighteen Luohans are accompanied by grotesque animals. The Qianlong emperor, better known for his erudition than as a humorist, commented in a colophon about the quietened dragon which holds the sacred book in its claws.
Wu Bin, who was a very skilled landscape artist in the Wanli era, was also a caricaturist. He was a devout Buddhist while remaining secular. He loved to ridicule the Luohans, therefore assessing that they were human beings.
The MET has a 32 x 415 cm scroll with sixteen Luohans. It bears a date corresponding to 1591 CE, and is arguably one of Wu Bin's earliest works on this subject. The serious and grotesque characters are stylized, but they are all different one another.
The Cleveland Museum of Art has an undated scroll 38 x 2500 cm by Wu Bin featuring 500 Luohans with 18 assistants plus Guanyin. They exercise their powers in an endless variety of situations. They know how to tame tigers and dragons, walk on water, fly on the back of a crane.
On November 22, 2009, Poly sold a 31 x 570 cm scroll by Wu Bin for RMB 170M including premium from a lower estimate of RMB 20M, lot 5125. It is referenced and illustrated in an article published in 2020 by The Value.
A date inscribed in the work corresponds to 1615 CE. The eighteen Luohans are accompanied by grotesque animals. The Qianlong emperor, better known for his erudition than as a humorist, commented in a colophon about the quietened dragon which holds the sacred book in its claws.
