This magnificent thangka depicts one of the Five Transcendent (Dhyani) Buddhas, Ratnasambhava. These are not historical figures, like Shakyamuni, rather they exist in the  More »

This magnificent thangka depicts one of the Five Transcendent (Dhyani) Buddhas, Ratnasambhava. These are not historical figures, like Shakyamuni, rather they exist in the imaginary realm and collectively symbolise enlightenment and the attainment of Buddhahood. They often appear in mandalas and are fundamental to Buddhist meditation practices. Ratnasambhava is associated with the southerly direction and is usually listed third, after Vairocana and Aksobhya and before Amitabha and Amoghasiddhi. The name derives from Sanskrit and literally means ‘born from the jewel.’ Seated in the lotus position, he performs the ‘varada mudra’ with his right hand extended down, palm outward. This is a gesture of charity or giving and symbolises the compassion and protection he offers to his disciples. He has the power to transform pride and promotes the wisdom of sameness or equality. According to this doctrine all human beings, regardless of age, wealth or race, have the ability to achieve enlightenment and thus equality.The colour traditionally associated with Ratnasambhava is a light golden yellow, the colour of the sun and linked to prosperity and fertility. The Dhyani Buddhas are typically richly adorned as a sign of their elevated status. This example is no exception; the jewellery includes a crown, armlets encrusted with gems, a series of four necklaces and large gold earplugs. The short striped dhoti is richly coloured in red, blue and green. The lotus throne is supported by two horses, the traditional vehicle of Ratnasambhava and symbolic of spiritual journeys, impetus and liberation. Eight bodhisattvas are arranged on three tiers, two of which are depicted standing. These comprise a chorus of listeners (shravakas). In fact the cult of the Eight Bodhisattvas originated in India during the early days of Mahayana Buddhism and was especially popular in Tibet. In this painting the standing pair are particularly elegant, with their hips protruding and their pose orientated towards the centre.This work would have originally been part of a set of five, each panel depicting one of the five Dhyani Buddas. These were hung in Buddhist temples and monasteries, often above the door or on a crossbeam in front of the main shrine. Visual representations of Ratnasambhava are extremely rare and difficult to come by and it is in front of such images that Buddhist ordination typically takes place. The Los Angeles County Museum owns a very similar thangka, assigned to Tibet and dated to the late twelfth-early thirteenth century (see Exh., ‘The Circle of Bliss: Buddhist Meditational Art,’ cat. no. 14). Similar scenes have also been attributed to Nepalese artists working for Tibetan Buddhist patrons in the thirteenth century. A two-line inscription in black pigment is contained within the painted red border on the lower edge. The painted cloth is surrounded by a frame of moss green silk brocade.For further references to Ratnasambhava in Tibetan/Nepalese painting see: S. M. Kossack, ‘Sacred Visions: Early Paintings From Central Tibet,’ (New York, Metropolitan Museum, 1998), pp. 104, 138-143. D. I. Lauf, ‘Tibetan Sacred Art: The Heritage of Tantra,’ (Bangkok, 1995), A. Heller, ‘Tibetan Art,’ (Suffolk, 1999), p. 87. - (AM.0433)   « Less

Origin: Tibet/Nepal Circa: 16 th Century AD to 18 th Century AD Dimensions: 39" (99.1cm) high x 30.4" (77.2cm) wide Collection: Asian Medium: Paint on Fabric

Origin: Tibet/Nepal Circa: 16 th Century AD to 18 th Century AD Dimensions: 39" (99.1cm) high x 30.4" (77.2cm) wide Collection: Asian Medium: Paint on Fabric   « Less

Origin: Tibet/Nepal Circa: 16 th Century AD to 18 th Century AD Dimensions: 26" (66.0cm) high x 18" (45.7cm) wide Collection: Asian Art Style: Himalayan Medium: Paint,  More »

Origin: Tibet/Nepal Circa: 16 th Century AD to 18 th Century AD Dimensions: 26" (66.0cm) high x 18" (45.7cm) wide Collection: Asian Art Style: Himalayan Medium: Paint, Fabric   « Less

The overextension of the labor force during the Qin Dynasty would result in a popular uprising against the empire. In 206 B.C., Liu Bang, a Qin official, led an army composed  More »

The overextension of the labor force during the Qin Dynasty would result in a popular uprising against the empire. In 206 B.C., Liu Bang, a Qin official, led an army composed of peasants and some lower nobility to victory and established his own Dynasty in place, the Han. However, unlike the Qin, the Han would unify China and rule virtually uncontested for over four hundred years. It is during this time that much of what is now considered to be Chinese culture was first actualized. The bureaucracy started under the Qin was now firmly established. The vast lands of China were now under the firm grip of a central authority. Confucianism became the state ideology although the worship of Taoist deity remained widespread, both among the peasants and the aristocracy. Ancient histories and texts were analyzed and rewritten to be more objective while new legendary myths and cultural epics were transcribed.The Han era can also be characterized as one of the greatest artistic outpourings in Chinese history, easily on par with the glories of their Western contemporaries, Greece and Rome. Wealth pouring into China from trade along the Silk Road initiated a period of unprecedented luxury. Stunning bronze vessels were created, decorated with elegant inlaid gold and silver motifs. Jade carvings reached a new level of technical brilliance. But perhaps the artistic revival of the Han Dynasty is nowhere better represented than in their sculptures and vessels that were interred with deceased nobles. Called mingqi, literally meaning “spirit articles,” these works depicted a vast array of subject, from warriors and horses to ovens and livestock, which were buried alongside the dead for use in the next world, reflecting the Chinese belief that the afterlife was an extension of our earthy existence. Thus, quite logically, the things we require to sustain and nurture our bodies in this life would be just as necessary in our next life.The Han Dynasty, like the Zhou before it, is divided into two distinct periods, the Western Han (206 B.C.-9 A.D.) and the Eastern Han (23-220 A.D.) with a brief interlude. Towards the end of the Western period, a series of weak emperors ruled the throne, controlled from behind the scenes by Wang Mang and Huo Guang, both relatives of empresses. They both exerted enormous influence over the government and when the last emperor suddenly passed away, Mang became ruling advisor, seizing this opportunity to declare his own Dynasty, the Xin, or “New.” However, another popular uprising began joined by the members of the Liu clan, the family that ruled the Han Dynasty, the Xin came to a quick end and the Eastern Han was established in its place with its capital at Loyang (Chang’an, the capital of the Western Han, was completely stroyed).However, even as Chinese influence spread across Southeastern Asia into new lands, the Eastern Han Dynasty was unable to recreate the glories of the Western Period. In fact, this period can be characterized by a bitter power struggle amongst a group of five consortial clans. These families sought to control the young, weak emperors with their court influence. Yet, as the emperors became distrustful of the rising power of the clans, they relied upon their eunuchs to defend them, often eliminating entire families at a time. During the Western Han, the Emperor was viewed as the center of the universe. However, this philosophy slowly disintegrated under the weak, vulnerable rulers of the Eastern Han, leading many scholars and officials to abandon the court. Eventually, the power of the Han would completely erode, ending with its dissolution and the beginning of the period known as the “Three Kingdoms.”This bronze pou urn, also known as a lei, is one of the types of vessels used for holding wine or water. The vessel steadily expands from its tapered base until the upper mid section where the rings are placed and contracts at the neck area. The neck is short, slightly flaring upward near the mouth which is rimmed with a flatten border that runs flush to the lid. The lid is attached to one of the holding rings by a chain link with one-inch interlocking chains. Earthen residue adheres to the vessel, patch worked with areas of discoloration from oxidization and changes in patina color and texture that occurs over time. The elegant shape of the vessel attests to the aesthetic value placed on ritual vessels that were used in ceremonies and buried in tombs during the Han Dynasty. - (FZ.348)   « Less

Upon leading a victorious rebellion against the foreign Mongul rulers of the Yuan Dynasty, a peasant named Zhu Yuanzhang seized control of China and founded the Ming Dynasty  More »

Upon leading a victorious rebellion against the foreign Mongul rulers of the Yuan Dynasty, a peasant named Zhu Yuanzhang seized control of China and founded the Ming Dynasty in 1368. As emperor, he founded his capital at Nanjing and adopted the name Hongwu as his reign title. Hongwu, literally meaning “vast military,” reflects the increased prestige of the army during the Ming Dynasty. Due to the very realistic threat still posed by the Mongols, Hongwu realized that a strong military was essential to Chinese prosperity. Thus, the orthodox Confucian view that the military was an inferior class to be ruled over by an elite class of scholars was reconsidered. During the Ming Dynasty, China proper was reunited after centuries of foreign incursion and occupation. Ming troops controlled Manchuria, and the Korean Joseon Dynasty respected the authority of the Ming rulers, at least nominally.Like the founders of the Han Dynasty (206 B.C.- 220 A.D.), Hongwu was extremely suspicious of the educated courtiers that advised him and, fearful that they might attempt to overthrow him, he successfully consolidated control of all aspect of government. The strict authoritarian control Hongwu wielded over the affairs of the country was due in part to the centralized system of government he inherited from the Monguls and largely kept intact. However, Hongwu replaced the Mongul bureaucrats who had ruled the country for nearly a century with native Chinese administrators. He also reinstituted the Confucian examination system that tested would-be civic officials on their knowledge of literature and philosophy. Unlike the Song Dynasty (960-1279 A.D.), which received most of its taxes from mercantile commerce, the Ming economy was based primarily on agriculture, reflecting both the peasant roots of its founder as well as the Confucian belief that trade was ignoble and parasitic.Culturally, the greatest innovation of the Ming Dynasty was the introduction of the novel. Developed from the folk tales of traditional storytellers, these works were transcribed in the everyday vernacular language of the people. Advances in printmaking and the increasing population of urban dwellers largely contributed to the success of these books. Architecturally, the most famous monument of the Ming Dynasty is surely the complex of temples and palaces known as the Forbidden City that was constructed in Beijing after the third ruler of the Ming Dynasty, Emperor Yongle, moved the capital there. Today, the Forbidden Palace remains one of the hallmarks of traditional Chinese architecture and is one of the most popular tourist destinations in the vast nation.This gorgeous bronze sculpture depicts the Buddha seated in the dhyanasana position (also called the padmasana position), the posture of meditation better known in the West as the lotus position upon a double lotus throne. With his right hand, he forms the bhumisparsa mudra, literally translated as the “gesture of touching the earth” in which the Buddha, when seated underneath the Bodhi tree, touches the ground in order to call on the earth to witness his enlightenment. This gesture is considered a symbol of unshakable faith and resolution. His other hand rests upon his leg, holding a small begging bowl. All Buddhist monks must possess a begging bowl in which they collect food offerings. They became a symbol of law, and therefore the Buddha himself. The origins of begging bowls are Indian, and they appear in Buddhist art as early as the Gandhara era.During the Ming Dynasty, representations the Buddha displaying Tibetan influences were cast in bronze, such as this gorgeous example. A thick robe of many folds drapes over his left shoulder and swoops around the neck with graduated layered edges hanging over his right shoulder. His facial features are well modeled with a serene, content expression. His pendulous earlobes droop down, resulting from the heavy earring he used to wear during his royal youth. The Buddha's tightly curled coiffure is crowned by an ushnisa, or bump, which symbolizes his divine intellect. The creation of Buddha images, both large and small, highlights the devotional intent of Buddhist art. The pious hoped to gain merit in the next world by making and offering images of the Buddha. The images themselves were also didactic, conveying aspects of doctrine and belief. - (H.015)   « Less

This head provides a perfect illustration of the elaborate pictorial style that characterizes Buddhist sculpture of the Song period and later. The grace and feminine  More »

This head provides a perfect illustration of the elaborate pictorial style that characterizes Buddhist sculpture of the Song period and later. The grace and feminine refinement of features and nose are characteristic of this last sentimental phase of Buddhism during the twelfth century. An interesting feature of this sculpture is the composition of the Buddha's head-dress which is fashioned in loose, voluminous locks with the cranial protuberance, ushinisha, positioned beneath the summit in the form of a tumorous bulb. On the forehead, the urna consists of a grouping of small bumps, a stylized way of depicting the Buddha's superhuman nature from which emanates the light of wisdom illuminating the universe. The lips are painted red, and patches of gilded surface brighten the center of the face. The serenity in his face is highlighted by the beautiful sculpturing of the face and neck, accentuating the peacefulness in his face. The eyes are lowered in contemplation and the mouth is gently closed in a contented smile. The exquisite precision and depth of carving that give it the vivacity of a painting demonstrate the high skill of artisans working in this medium. This Buddha has an aura of majesty and seems remote from mundane concerns. Its expressions convey spirituality and withdrawal, yet its warm, smiling mouth tell us that he is not all that removed from humanity. There is an inner unity between the natural structure and its artistic representation combined with perfect beauty and a sense of harmony of balance. The theme of harmony is a larger reflection of the Chinese vision of centrality as a great civilization. - (H.509)   « Less

Many thousands of years ago, our earliest ancestors were nomadic tribes that survived by foraging the wild for food and shelter. During the Neolithic era, human groups first  More »

Many thousands of years ago, our earliest ancestors were nomadic tribes that survived by foraging the wild for food and shelter. During the Neolithic era, human groups first began to settle down permanently, establishing villages and communities. However, without new technological innovations, this sedentary culture would not have been possible. Foremost among these discoveries were agriculture and tool-making, both of which enabled humans to transform their natural environment into a sustainable society. Many thousands of years ago, the area presently covered by modern China was made up of distinct regions each with their own unique cultural identity. Archaeologists have been able to discern some of these cultures from each other based upon the burial styles, architecture, and pottery, perhaps the most immediate remnant of this age.This marble carving of a human figure is one of the earliest examples of human images uncovered in China to date. Its origins are still shrouded in mystery, but it is likely that it represents an image of a female as the ancients believed the ritual practice of deference to fertility deities would ensure prosperity. Images of goddess figures suggest acknowledgment of the important role women played in the development of agriculture and animal domestication. This pillar shaped statue has a flat bottom and smooth surface with patches of earth attached in areas. Incised lines depict a person with arms extended over the chest, perhaps kneeling in a posture of reverence. The head is disproportionately large; lines above its squinted eyes represent hair. The bridge of the nose is long, characteristic of Northern cultures, and two bulges protrude from the sides of the face. A fine example of early man's belief in the power of reproduction reified in the body of women, this piece reminds us of our common belief in the origins of man. - (H.511)   « Less

The overextension of the labor force during the Qin Dynasty would result in a popular uprising against the empire. In 206 B.C., Liu Bang, a Qin official, led an army composed  More »

The overextension of the labor force during the Qin Dynasty would result in a popular uprising against the empire. In 206 B.C., Liu Bang, a Qin official, led an army composed of peasants and some lower nobility to victory and established his own Dynasty in place, the Han. However, unlike the Qin, the Han would unify China and rule virtually uncontested for over four hundred years. It is during this time that much of what is now considered to be Chinese culture was first actualized. The bureaucracy started under the Qin was now firmly established. The vast lands of China were now under the firm grip of a central authority. Confucianism became the state ideology although the worship of Taoist deity remained widespread, both among the peasants and the aristocracy. Ancient histories and texts were analyzed and rewritten to be more objective while new legendary myths and cultural epics were transcribed.The Han era can also be characterized as one of the greatest artistic outpourings in Chinese history, easily on par with the glories of their Western contemporaries, Greece and Rome. Wealth pouring into China from trade along the Silk Road initiated a period of unprecedented luxury. Stunning bronze vessels were created, decorated with elegant inlaid gold and silver motifs. Jade carvings reached a new level of technical brilliance. But perhaps the artistic revival of the Han Dynasty is nowhere better represented than in their sculptures and vessels that were interred with deceased nobles. Called mingqi, literally meaning “spirit articles,” these works depicted a vast array of subject, from warriors and horses to ovens and livestock, which were buried alongside the dead for use in the next world, reflecting the Chinese belief that the afterlife was an extension of our earthy existence. Thus, quite logically, the things we require to sustain and nurture our bodies in this life would be just as necessary in our next life.Used for holding wine or water, this bronze Hu is an outstanding specimen of Western Han bronze ritual vessels. The bronze industry flourished during this period as the state pursued policies to expand and develop the manufacture of bronze pieces. This vessel reveals the aesthetic qualities and ancient prescriptions placed on reproducing canonical forms of "the golden age". This Hu is adorned with three horizontal bands and two circular handles attached to the body and decorated in Taotie motif. Its body is full, contracting sharply at the base and gently at the neck where the short neck and slightly flared mouth is formed.The origins and significance of the Taotie, an important mythical animal motif that has evolved from ancient times, still evades scholars who believe that the enlarged eyes of the beast represent its protective and propitious power. The belief that drinking from the ancient bronze wine vessels would bring auspicious fortune pervaded, adding to the mystery and sense of empowerment attached with collecting bronzes throughout the ages. Bronze wares were included among the items that were interred with the dead to comfort them in their afterlife. During the Han Dynasty, bronze Hu became a favored item in this practice as well as in other ritual sacrifices. This bronze Hu carries the charm and mystery of the Han who prized bronze for its ritualistic properties and confirmation of social status. We may only wonder whose hands it has passed. - (H.520)   « Less

After the fall of the Tang Dynasty, a period of unrest and war ensued, finally ending with the establishment of the Song Dynasty. The Song era was considered a time of  More »

After the fall of the Tang Dynasty, a period of unrest and war ensued, finally ending with the establishment of the Song Dynasty. The Song era was considered a time of consolidation for Chinese culture. Traditional text were reanalyzed and reinterpreted, bringing forth a revival of Confucianism peppered with new ideas. Once again, civil scholars became more influential than their military counterparts. This was an era of peace, where technology and innovation flourished. Trade now focused on the seas, since the Silk Road had since been cut off. The Song viewed themselves as the culmination of two thousand years of Chinese culture. However, splinters began to emerge among the various ethnic groups that had been unified under the Tang. As these ethnic rivalries began to grow, the government became fractured as officials began to oppose each other, allowing the Mongols from the north to invade and conquer.Stone pieces from the Song Dynasty tend to depict the real world. Figures of civil and military officials were particularly important as some were recreated in stone on ceremonial occasions. Bearing an umbrella and dressed in battle ready gear, this king kneels with one fist pressed against his forward knee. His arched eyebrows, bulging eyes and menacing frown convey his grandeur and strength as well as his commitment to loyalty and righteousness.In Chinese they are called tian wang, which means Celestial king. These intimidating figures guard heaven and earth, removing the forces of evil that wreck havoc in both realms. Spiritually and physically, they maintain peace throughout the universe. They also ensure perfect climate for agricultural growth that was a primary concern for rulers who wanted to remain ruling. The Mandate of Heaven that legitimizes a ruler could be justifiably taken away if disaster should strike the crops, since it was believed disaster only occurs out of the wrath of heaven to banish evil rule. These guardians also had the ability to regulate wind, rain, lightning and thunder; by doing so they could make a good person/country advance/bloom or destroy the bad and evil ones. Likewise, the Guardian Heaven became the choice of rulers and elites to be replicated in stone in tomb complexes, offering halls and temples. The names of four guardians (heavenly kings) are generally as follow (sanskrit/chinese): 1. In the East: "Dhritarastra 东方持国天王" Represents "Compassion" and ability to 'protect' a country. Usually the one holding a Pipa (a chinese instrument), symbolizing the use of music to encourage sentient beings to seek refuge in buddhism, protecting the east. 2. In the South: "Vidradhaka 南方增长天王" Generally means one who can encourage sentient beings to prolong their roots of kindness. He has green color body, and uses a sword, protecting the south. 3. In the West: "Virapaksa 西方广目天王" Generally means one who can look very far and observe the world and protect the people. Usually has a red body and is the leader of the 4 kings. He carries a dragon, and when one sees it, they will believe in buddhism. He also uses rope to catch believers and get them to see refuge in Buddhism. He was in charge of protecting the west. 4. In the North: "Vaisramana 北方多闻天王" (sometimes also known as "毗沙门 Pisamen") Generally means "one who knows alot". Usually has a green body and carries an umbrella on his right hand and carries a magic mouse on his left hand. These were used to subdue the demons and protect and maintain people's wealth. Sometimes, he is also known as the God of prosperity in India. The four guardians of Buddhism are sometimes also known as the "4 heavenly kings 四大天王". They were actually the "4 Dharma Protectors 四大护法" (i.e. Protectors of Buddhist teaching) whose mission is to protect the world, advise sentient beings to do good and avoid evil, records the deeds of sentient beings etc. In chinese Buddhist temples, you will often see the statues of these 4 deities in front of the gate/entrance to the temple. Sometimes, you can also see their paintings on the wooden door/gate of the temple. They were there to 'protect' the temple. In Buddhist cosmology, the universe was divided into 3 worlds: 1) the world of desire (欲界) 2) the world of form (色界) 3) the world of form-less (无色界) Most of sentient beings including humans are living in the world of desire, which has 6 levels of heaven known as "6 desire heavens 六欲天". The 1st levels of heaven (known as "Xuer Mountain 须弥山") has a mountain known as "Jiantuolo Mountain 犍陀罗山". This is where the 4 heavenly kings live. The Jiantuolo Mountain has 4 peaks, each of which protected by the heavenly kings. - (H.523)   « Less

After almost four hundred years of civil war and division, Yang Jian succeeded in reunifying north and south under one authority, the Sui Dynasty. However, despite its brief  More »

After almost four hundred years of civil war and division, Yang Jian succeeded in reunifying north and south under one authority, the Sui Dynasty. However, despite its brief duration, lasting for the rule of only two emperors, the Sui Dynasty paved the way for the cultural renaissance that would arise during the T’ang Dynasty. Reforms were introduced to wrest power out of the hands of the aristocracy, military, and Buddhist communities. The Confucianist system of selecting government officials from state schools, by means of rigorous examinations, was initiated. Perhaps their most significant program was the construction of the Great Canal, a project that facilitated the movement of people and goods across great distances, aiding in the reunification of China. However, the cost of the Canal bankrupted the empire and ultimately led to its dissolution, coupled with a failed campaign to conquer Korea. The rulers of the T’ang would capitalize on the infrastructure improvements of the Sui and establish one of the greatest empires in the history of China, following the footsteps of the Sui.Sui Dynasty innovations ushered in the great flowering of tomb object, mingqi, production that lasted into the Tang Dynasty. With the reunification of the Chinese proper, Sui artisans were faced with an increased demand for elaborate pieces to furnish the interior compounds of a burial lay-out that began to look more like a landscape of surface society rather than a recreation of daily life which characterized the tombs of earlier periods. Though guardian figurines became the hot product of the day, military figurines persisted to play an important role in the burial procession. These two figurines represent Sui military men, posed in a familiar stance with one arm cocked forward and the other drawn to the side grasping a weapon that no longer exists. Based on the sort of techniques and production methods available at the time, it is assumed that bright colors were applied onto a base of white-bodied ware. Detailed painted work can be seen on the trousers that appear to be blue and red decorative pads covering the knees. The soldiers are protected head to toe in armor consisting of pectoral plates, a headdress, and a shoulder cape. Their facial features are sculpted to the finest detail--their curved eyebrows and grimacing mouth express the tension of men ready to risk their life in battle.In a realistic representation, these two military figurines exemplify the transformation of tomb objects, reflecting the strength, vigor, and wealth of the unified Sui Empire. Tomb figurines once again claim their superior position among Chinese classical sculptural forms. - (H.526)   « Less