Eternal Realms

Tang dynasty Buddhist sculptures are renowned for their naturalism and intricate depiction of the human form, influenced in part by the ample figure of Yang Guifei (719–756), the beloved concubine of Emperor Tang Xuanzong (r. 712–756). This is reflected in two fine Guanyin heads (nos 4 and 5), one made from unusual green stone with traces of gilt. Another rare piece is a kneeling attendant in marble (no. 6), typically seen in glazed pottery from the Sui/Tang dynasties.

Archaeological surveys of Liao dynasty Buddhist pagodas have revealed bronze mirrors that once adorned these structures. More than a thousand such mirrors were affixed to the White Pagoda at Balin Right Banner, a historic Buddhist edifice located in Inner Mongolia, China, many of which remain remarkably intact. These mirrors, with their decorated reflective surfaces, were crafted to capture light, symbolising Buddhist wisdom. The White Pagoda is notable for its architectural and cultural significance, standing as a testament to the historical importance of the region and the pervasive influence of Buddhist traditions in China across dynastic periods. This exhibition includes a small mirror from the Liao period (no. 8), a distinguished larger piece from the Robert Rousset collection (no. 10) and a third, smaller circular mirror from the Song dynasty (960–1279) (no. 9) depicting a seated Avalokiteshvara.

By the Song dynasty, with the secularisation of Buddhist images, Chinese sculpture had matured considerably. It captured the character and psychology of its subjects, often modelled after living beings. This evolution is exemplified by the stone model of a sleeping luohan (no. 12). The piece portrays the figure’s softness and tranquil nature, his head gently tilted in deep repose. Similarly, the white marble head of luohan Kasyapa (no. 13) vividly captures the subject’s sharp features, such as the well-defined bone structure, hooked nose and deep-set eyes.

Two Song dynasty wood heads of bodhisattvas are featured. The larger, imposing example (no. 14) was acquired by a private American collector in Japan between 1946 and 1950. The smaller head (no. 15), which retains thick remnants of lacquer, was purchased by a French collector in America in the 1960s.

By the beginning of the Yuan dynasty (1279–1368), both Daoism and Buddhism were officially encouraged. The exhibition features large-scale stucco sculptures that are uncommon in the art market. Particularly notable is a pair of very large standing bodhisattvas (no. 16), decorated with remnants of polychrome, comparable to similar sculptures from Shanxi temples and previously part of an American collection.

A remarkable rarity is an exquisite pair of seated wrathful deities in stucco (no. 18), which retain nearly all of their original polychrome hues. The intricately detailed muscular forms, distinguished by prominent veins and expressive facial features, stand as a testament to exceptional artistry.

The notion of grandeur found its roots in China through the early imperial supporters of Buddhism in the Northern Wei dynasty (386–534), and continued to be a pursuit for subsequent imperial and ambitious benefactors. The gilt-lacquered and painted stucco head of Buddha (no. 17) stands as a magnificent example of this grandeur. Originally part of a colossal seated Buddha, this intricately crafted head is exceptionally well preserved, with its gilding and glass eyes largely intact.

Two Japanese sculptures are featured in the exhibition—one hailing from the early Heian period (794–1185) and the other from the Meiji era (1868–1912). The former, a sizeable lacquered wood Buddha head (no. 1), captures the tranquillity and calmness typical of Heian period Buddhist artworks, echoing similar pieces from that epoch.

The life-size bronze depiction of the demon-like figure Tentoki (no. 23) is exquisitely sculpted, with a muscular physique, intricate limbs, a commanding visage and luxuriant, bushy hair. Its surface has a naturally developed green patina that complements the exceptional craftsmanship of the Meiji period.

Finally, a detailed mandala painting (no. 22) rendered in ink on silk, presumed to originate from the Edo period (1603–1868), is presented. The intricate details of this artwork pay homage to the earlier ink paintings within this genre.