Origin: China Circa: 368 AD to 534 AD Dimensions: 12.5" (31.8cm) high x 6.25 " (15.9cm) wide Collection: Chinese Art Style: Northern Wei Dynasty Medium: Clay

Origin: China Circa: 368 AD to 534 AD Dimensions: 12.5" (31.8cm) high x 6.25 " (15.9cm) wide Collection: Chinese Art Style: Northern Wei Dynasty Medium: Clay   « Less

Origin: China Circa: 368 AD to 534 AD Dimensions: 12.5" (31.8cm) high x 6.25 " (15.9cm) wide Collection: Chinese Art Style: Northern Wei Dynasty Medium: Clay

Origin: China Circa: 368 AD to 534 AD Dimensions: 12.5" (31.8cm) high x 6.25 " (15.9cm) wide Collection: Chinese Art Style: Northern Wei Dynasty Medium: Clay   « Less

Origin: China Circa: 368 AD to 534 AD Dimensions: 12.5" (31.8cm) high x 6.25 " (15.9cm) wide Collection: Chinese Art Style: Northern Wei Dynasty Medium: Clay

Origin: China Circa: 368 AD to 534 AD Dimensions: 12.5" (31.8cm) high x 6.25 " (15.9cm) wide Collection: Chinese Art Style: Northern Wei Dynasty Medium: Clay   « Less

Origin: China Circa: 368 AD to 534 AD Dimensions: 12.5" (31.8cm) high x 6.25 " (15.9cm) wide Collection: Chinese Art Style: Northern Wei Dynasty Medium: Clay

Origin: China Circa: 368 AD to 534 AD Dimensions: 12.5" (31.8cm) high x 6.25 " (15.9cm) wide Collection: Chinese Art Style: Northern Wei Dynasty Medium: Clay   « Less

The Northern Qi were an extremely short-lived dynasty during a very tumultuous period in Chinese history. However, despite the military and political unrest that  More »

The Northern Qi were an extremely short-lived dynasty during a very tumultuous period in Chinese history. However, despite the military and political unrest that characterised their twenty-seven year reign, the arts continued to flourish. In fact the fifth and sixth centuries were extremely important to the development of Buddhist art in China. Although Buddhism reached China along the Silk Route during the Han era, it took several centuries to really gain ground. The legendary conversion of the Han Emperor Mingdi in the first century AD was a turning point, but the state still hesitated to promote Buddhism over native ideologies such as Confucianism and Daoism. Real progress took place under the Northern Wei, a foreign dynasty who adopted Buddhism as the state religion. The monumental cave sculptures at Yungang and Longmen attest to this new enthusiasm. Although there are notable stylistic differences between Wei and Qi period sculpture, namely in areas such as drapery, both eras witnessed a remarkable enthusiasm for commissioning images of the Buddha.This stone stele is a perfect example of this trend. The Buddha, carved in high relief, is seated on a pedestal in the centre of a deep niche. The scale of the figures reflects their relative importance. On either side he is flanked by two attendants with bare heads and two bodhisattvas, standing on a pair of crouching lions. The expression of the Buddha is one of deep meditation with his eyes downcast and his left hand pointing towards the earth. The right hand is missing, but may well have been raised in the opposite direction to the left. The folds of the tightly fitting robes have all been carefully delineated and fall over the base in regular concentric semi-circles. The back of the niche features a lightly incised aureole with flame-like projections.Multiple images of the Buddha were extremely popular in this period and are present here in the outer frame. On the upper tier a row of standing attendants are visible behind a compressed leaf- shape mandorla. Within this, above a row of seated Buddhas, four flying heavenly beings support a central flame. Wearing billowing stoles, their hair is tied in topknots that move with the wind. Heavenly beings were low ranking deities or semi-deities who worshipped the Buddha and bodhisattvas in song and dance and sometimes offered them votive gifts such as flowers or incense. They originated in Indian mythology and belong among the Eight Supernatural Beings (Chinese: babuzhong) in the Buddhist pantheon. According to the Lotus Sutra their role is to protect the Buddha and Buddhist doctrine.The two small-scale kneeling figures within the upper mandorla may well represent the donors who commissioned the stele. The lowest tier is equally impressive with four crouching bodhisattvas, framed on either end by a snarling creature, possibly representing a lion or dragon. Dragons feature elsewhere in the design, with their heads visible just above the columns that frame the central niche. Fire and flames appear to be the central theme of the stele, and the outline of the leaf-shape mandorla is created from flames issuing from the mouths of these dragons.This piece is exceptional, both for its iconography and the quality of the carving. In excellent condition, it deserves to be the centrepiece of any serious collection of Buddhist art. - (AM.0341 )   « Less

The Northern Wei were a nomadic people who conquered parts of China in 386 AD. They embraced Chinese customs and traditions to such an extent that they prohibited their own  More »

The Northern Wei were a nomadic people who conquered parts of China in 386 AD. They embraced Chinese customs and traditions to such an extent that they prohibited their own traditional equestrian dress and adopted Chinese family names. This enthusiasm for Chinese fashion even had an impact on Buddhist art- by the end of the fifth century Buddha figures were depicted wearing traditional Chinese rather than Indian robes. The Northern Wei were ardent supporters of Buddhism and proclaimed it to be the official state religion. This was an important turning point as earlier Chinese dynasties had wavered in their endorsement of this newly imported faith. Buddhist art experienced a golden age as witnessed by the monumental cave sculptures at Yunguang and Longmen.This exceptional sculpture depicts a bodhisattva standing on a lotus pedestal. Bodhisattvas were compassionate beings who delayed their own entry into Nirvana in order to help other sentient beings end the cycle of birth and rebirth. Although Buddhist sacred texts do not specify their gender- in this period they were generally depicted as male. In later centuries, especially during the Ming era, bodhisattvas were often appealed to in their own right. During the Northern Wei however they were nearly always portrayed in pairs in the presence of the Buddha. Originally, therefore, this figure might have been part of a triad.The details of the costly apparel have been expertly carved. The tall crown is adorned with large stylised flowers and jewelled or beaded swags. A lightly incised necklace overlaps the under-garment which is tied with a sash just above the waist. A stole hangs over the shoulders and billows out slightly towards the base. A wide string of beads or pearls are attached to the stole at the shoulder and cross through a central disc at waist height, descending in a loop on either side. On top of this is suspended an even wider and heavier chain that descends all the way to knee level. The bodhisattva holds a lotus flower in his left hand. The right hand- which is now missing- may once have held a fan or flask, typical attributes of Northern Wei bodhisattvas.The highlight of this piece however is the facial expression of the bodhisattva. The almond shaped eyes are downcast suggesting a meditative pose but the well-defined lips are slightly upturned- with the suggestion of a smile. This reminds us that bodhisattvas were meant to be approachable, compassionate beings, existing to help others on the path to enlightenment. - (AM.0344 )   « Less

Origin: China Circa: 550 AD to 577 AD Collection: Chinese Style: Northern Qi Dynasty Medium: Painted Terracotta

Origin: China Circa: 550 AD to 577 AD Collection: Chinese Style: Northern Qi Dynasty Medium: Painted Terracotta   « Less

This set of one military official and two tomb guardian warriors, zhenmuyong in Chinese, typifies Sui period style which is characterized by the use of "straw colored" glaze  More »

This set of one military official and two tomb guardian warriors, zhenmuyong in Chinese, typifies Sui period style which is characterized by the use of "straw colored" glaze over white pottery. Though dressed in military attire typical of the period, the tomb guardian warriors differ from ordinary soldiers by their exaggerated facial expressions which suit the purpose to fend off evil from the burial site. The kuxi ensemble of long-sleeved tunic and tied and pleated pants is covered by liangdang armour; an apron-like leather shield belted at the waist and buttoned over the shoulders. Upturned shoes and a fitted cap complete the ceremonial costume, which was probably modelled on that of palace guards rather than actual combat soldiers. The grimacing faces, with wrinkeled brow and large noses, suggest foreign status. This element is also present in the military officer whose broad nose, high cheekbones and narrow inset eyes also differ from typical Han Chinese features. The military officer wears ornate helmet that forms a conical peak and covers the crown, forehead, and ears with mail draping over the shoulders. The officer's outer chest armour is decorated with images of mythical beasts and tigers in relief on the shoulders, collar and chest plates. Also wearing a two piece ensemble tied at the waist, the officer sports buffon-like pantalons tied at the ankles over boots to facilitate battle readiness. These superb Sui pieces enhance any collection of Chinese art. - (H.030)   « Less

The chunky body, movement, and style of the horse characterizes Sui dynasty representations of the horse. There is a tendency toward naturalistic portrayals of the horse's  More »

The chunky body, movement, and style of the horse characterizes Sui dynasty representations of the horse. There is a tendency toward naturalistic portrayals of the horse's structure and pose. The mane, ears, and face are moulded in detail--even the muscular striations in the face are shown. The horse leans backward with rounded hindquarters and hind legs slightly bent. The lady rider is gently modelled holding reins in hand and extending legs into the foot harness. Her delicate facial features and the soft lines in her body and clothing indicate her privileged position among the elite of society. Both figures are moulded from one piece and are covered with "straw colored" glaze--the horse bearing traces of pigmentation in the hooves. The Sui and Tang era was one of enlightened religious tolerance, expanded foreign trade, peaceful political rule, and curiosity about and exchange of ideas with peoples beyond China's own borders. In this context, Chinese art and culture were receptive to change and innovation, which brought the already well-established foundations of their civilization to new levels of refinement and sophistication. The changes of sculptural form and style evident in this piece which was designed to fulfill a purpose in the ancient Chinese burial practice convey the dynamism of this persevering tradition. - (H.031)   « Less

Pottery figurines of the Sui Dynasty are characterized by the use of "straw" colored glaze and white pottery. This set exemplifies period production as well as subject  More »

Pottery figurines of the Sui Dynasty are characterized by the use of "straw" colored glaze and white pottery. This set exemplifies period production as well as subject matter. Depicting a standing soldier and court official, these figurines provide a glimpse of the complex world of Chinese burial art. Both figurines bear characteristics that appear to blend attributes of standard subjects. The soldier's suspecting eyes, sly grin and gross features liken him to an evil detecting tomb guardian yet his attire of a knee length tunic protruded by a comb patterned underskirt and tucked trousers or high boots gives him the appearance of a lower ranking foot soldier. A tight cap which rises in the center fits tightly around his head framing his incaptivating expression. Likewise, the accompanying figurine blends characteristics of a court functionnaire or a religious teacher. He appears contemplative, if not meditative, as he humbly holds an emblem of office. His mitre-like cap resembles those of Tibetan Lama priests and his long tunic covered by an unadorned cape and worn over a longer under garment reminds one of monastic attire. The subject of tomb figures is closely linked with Chinese religion and philosophy. The tomb signified a gate to the afterlife or a meeting place of the two worlds. Pottery figurines replaced the Eastern Zhou tradition of interring live persons, animals and actual objects. - (H.046c)   « Less