Works from the Ming Dynasty

Barakat

Works from the Ming Dynasty

Upon leading a victorious rebellion in 1368, against the foreign Mongol rulers of the Yuan Dynasty, a peasant named Zhu Yuanzhang seized control of China and founded the Ming Dynasty. 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, and 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 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.

Like the founders of the Han Dynasty (206 BC - 220 AD), 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 centralised system of government he inherited from the Mongols 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 CE), 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 not a noble profession.

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 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.

Set of three Fe

1368 - 1644 CE Glazed terracotta NP.021 $12,000

This Ming set of glazed figurines depicts an aspect of Chinese political and social life. Tributary processions were common protocol at this time, the emperor requiring provincial lords to pay tribute and tax on a regular basis.

Processions were also held for funerals, marriages, and rituals, differing in grandeur depending on the status of the individuals involved and nature of the ceremony. The palanquin served as the primary form of transportation for the elite who often travelled with several attendants. Ming statuette art reflects the attempt to restore purely ‘Chinese’ artistic genres with a healthy injection of Confucian aesthetic, political, and moral standards. Realistic depictions of daily life became popular themes among artists who were often patronized by the court. Under Xuande's reign (142635), the art industry flourished, producing many exquisite porcelain and ceramic pieces. This glazed set is a product of the artistic revival that occurred throughout the Ming period.

Set of three Attendants

1368 - 1644 CE Glazed terracotta NP.022 ÂŁ18,000

Set of seventeen Musicians and a Horse with Rider

1368 – 1644 CE Glazed terracotta NP.023 £58,500

Seventeen Musicians wear emerald green robes attached tied at the waist with a sash. Their whitened faces accentuate their finely shaped eyes and small red mouths as well as their black hair that appears beneath the tall, rounded red caps.

Although dressed in nearly identical attire, each musician bears a mark that distinguishes one from the other, a method used

by Chinese statuette artists for centuries to imbue each figure with spirit. Seven figurines hold a white drum, the sticks of which were likely fabricated in a material such as wood that deteriorated over the centuries; the rest of the musicians hold instead a golden flute or trumpet in their hands. The procession is complete with a white horse decked out in exquisite trappings; the bridle and rein are adorned with decorative studs and the amber glazed saddle is complimented with yellow and green saddle blankets. Wide-eyed and grinning, the horse displays its elegance and strength.

Head Rest

1368 – 1644 CE Glazed terracotta NP.013 £60,000

Pillows in Ancient China were originally made of stone, but gradually over time, other materials began to be employed including wood, bronze, and terracotta, which eventually became the most popular. Porcelain pillows first appeared in the Sui Dynasty and began to be mass-produced in the Tang Dynasty, reaching their height of popularity in the following centuries that coincided with the Song, Jin, and Yuan Dynasties. Both the form and the decorative elements varied greatly depending on the time period and regional styles, and so the pillows range from simple functional geometric shapes to elaborately modeled forms imitating animals, architecture, and other natural forms. Decorative motifs included patterns based on plants and animal hides, water and mountains, and calligraphic characters. Generally, the sophistication of porcelain pillows evolved in tow with the overall technical development of the porcelain industry in China. Such glazed terracotta pillows were also buried in tombs alongside other everyday items that belonged to the deceased.

Head Rest

1368 – 1644 CE Glazed terracotta NP. 012 £61,000

Roof Tiles in the form of Warriors

1368 – 1644 CE Glazed terracotta X.0718 £96,000

Pair of superb terracotta roof tiles in the form of two standing warriors; each sculpted in the round in opposing, wide-legged stance, upon integral base. These exquisite tiles would have been displayed along imperial ridges and reserved for the most important buildings. In addition to their expressive quality and arresting physiognomy, the distinct sancai-glaze, literally meaning three glazes, appeals for its brilliant colours and ability to vividly evoke the dazzling, luxurious cosmopolitan life of Imperial China. In addition to their aesthetic merit, they are thought to constitute an accurate index as to Ming armoury.

Roof Tiles in the form of Warriors

1368 – 1644 CE Glazed terracotta LA.521 £48,000

Civic Official

1368 – 1644 CE Glazed terracotta NP.004 £12,000

Traditionally in Chinese art, representations of civic officials symbolised the order of government. However, this symbolises more than just government, it symbolises the return of the ethnic Chinese to power. Aesthetically, the work recalls similar depictions of civic officials created during the Tang Dynasty, a golden age of Chinese culture. An elegant robe with long overflowing sleeves covers his body, and a black cap marks his official status. His facial features and groomed beard reveal his native Han ethnic origins.

Bodhisattva Head

1368 – 1644 CE Wood BF.001 £50,000

This striking polychrome head of a Bodhisattva depicts a well-carved face with closed eyes and a reflective expression, with hair piled up into a mound and an ornate crown made up of foliate scrollwork and an assortment of diadems, and a small Buddha figure seated on a plinth with a lotus flower. The bindi mark on the forehead is rendered as a depression that would have originally held an inlay.

Bodhisattva chose not to enter Nirvana, preferring to help others attain the necessary enlightenment to do so. In the west, she is known as the Goddess of Compassion. Depictions of her are usually very ornate, and in this sense differ from representations of Buddhas who eschew such worldly displays in favour of ascetic simplicity. Large sculptures such as the one were usually displayed in centralised temples, or in the homes of wealthy and presumably pious members of the Ming social elites.

Ming Dynasty Blue and White Vase

1400 CE- 1600 CE Porcelain, Silver 60cm high AM.0095 (LSO) ÂŁ350,000

The beautiful blue-and-white prestige porcelain vessel has a rounded square lower section cinched at the waist, tapering to a long, slim neck. The design follows this shape, with white bands at the base of the vessel, a double band at the waist, and another at the top of the neck where the floral scrollwork gives way to a cameo pattern containing a flower. The whole is decorated with floral scrollwork patterns. It is topped off with a bell-shaped silver cap with perforated, arched design. It is ambiguous in terms of cultural assignation. The appearance is essentially that of a minaret, yet the painting is clearly Chinese in origin. When one considers the nature of contemporary naval trade and relations, and also the fact that the silverware seems to be an add-on (partly obscuring the cameo design on the neck), it would seem very likely that this was a prestige piece made for the Islamic (probably Turkish) market, which was then adapted upon arrival. This is therefore a socially important and historically significant piece of porcelain and silver. As diplomatic pieces are usually c.30cm in height, its large size makes it yet more exceptional.

Ming Dynasty Bodhisattva Stone Head

1368 CE – 1644 CE Stone (AM.0335) £65,000

Buddhism was introduced to China from India in the years of the first millennium. This head represents the bodhisattva of mercy, known as Avalokiteshvara (or Guanyin in Chinese). Bodhisattvas were originally depicted as the Buddha’s attendants but increasingly came to be venerated in their own right. Usually dressed in elaborate attire, they were enlightened beings who had chosen to delay their entry into Nirvana to help other sentient beings end the cycle of birth and rebirth. Avalokiteshvara is identifiable by the small seated Buddha that appears in the headdress. This figure was immensely popular in China and it has been estimated that by the Tang period the number of images depicting Avalokiteshvara outnumbered those of the historical Buddha Shakyamuni. Representing a fragment from a larger piece, the head is still striking for the facial expression and the technical virtuosity of the carving.

Ming Dynasty Lohan Stone Head

1368 CE – 1644 CE Stone (AM.0334) £33,000

Even today, when entering the main hall of a Buddhist temple in China, one will discover two rows of sculpted figures, traditionally numbering eighteen in total. These figures are known as the Eighteen Lohan. Lohan is the Chinese term, derived from the Sanskrit word Arhan, for a disciple or follower of Buddha who has reached a state of enlightenment. The Lohan had been a popular subject in Chinese art at least since the cultural flourishing of the Tang Dynasty. Traditionally, they are always produced in sets of sixteen or eighteen. The numerical difference is a result of discrepancies in Buddhist texts. By the Song Dynasty, artists began to depict each Lohan with individualized facial features. Having achieved enlightenment, Lohans were free from all earthly desires and no longer subject to the cycle of rebirth. In this example the lips are parted to reveal both rows of teeth and the cheeks are dimpled. The eyes are partly closed and the forehead creased. The playful expression and the excellent condition of the piece both add to its appeal.

Ming Dynasty Lohan Stone Head

1368 CE – 1644 CE Stone (AM.0336) £28,000

In this example serenity and wisdom are conveyed through the creased forehead, absent gaze and smiling mouth. The area around the eyes and brow is particularly well-modelled and overall the head is in excellent condition.

Ming Dynasty Lohan Stone Head

1368 CE – 1644 CE Stone (AM.0337) £36,000

This example is particularly expressive with the lips parted to reveal the upper row of teeth and the nostrils slightly flared. The eyeballs are rendered in detail and the creased forehead and wrinkled brow contribute to the slightly ferocious demeanor. The head is in excellent condition.

Ming Dynasty Lohan Stone Head

1368 CE – 1644 CE Stone (AM.0338) £28,000

By the Song Dynasty, artists began to depict each Lohan with individualized facial features. Having achieved enlightenment, Lohans were free from all earthly desires and no longer subject to the cycle of rebirth. Serenity and wisdom are implied by the smiling expression and well-defined facial creases. The head is in excellent condition.

Ming Dynasty Lohan Stone Head

1368 CE – 1644 CE Stone (AM.0339) £24,000

In this superb example special attention can be drawn to the Lohan's thick eyebrows, which dominate the entire piece. Peace and wisdom are implied by the well-defined facial creases on the forehead and stoical expression. The head is in excellent condition.

Ming Dynasty Seated Sculpture of Maitreya

1368 CE – 1644 CE Stone (AM.0343) £186,000

Ming Dynasty Standing Buddha

1368 CE – 1644 CE Wood (AM.0430) £80,000

This superb monumental wooden statue of a standing Buddha dates from the Ming era. The carving of the drapery is exceptional, displaying layer upon layer of rippling fabric. The hair is formed from tight snail-shell curls which also cover the prominent ushnisha, symbolic of the Buddha’s spiritual wisdom. The facial expression is one of deep mediation, with closed eyelids and small pursed lips. The left hand is held just below the chest in a gesture of meditation. The right arm is held adjacent to the body, pointing towards the earth with the palm side visible, which symbolizes the Buddha’s power to bestow supreme accomplishments on his disciples.

Ming Dynasty Polychrome Bodhisattva

1368 CE – 1644 CE Wood (AM.0440) £300,000

Ming Dynasty Painted Female Lion 1368 CE – 1644 CE Terracotta (DL.1001) £42,000

The Fu Lion, or Fu Dog as it is also known, is a ubiquitous symbol that has been employed repeatedly throughout the history of China.

Sometimes referred to as the “Dog of Happiness” or the “Celestial Dog,” the earliest traces of the Fu Dog in China date to the Han Dynasty (206 B.C.-220 A.D.). Then it disappeared from Chinese art until it was resurrected during the cultural revival experienced during the Tang Dynasty (618-906 A.D.). While lions are not native to China, works of art with lion imagery from other civilizations were imported into China as gifts for the Emperor. The Fu Lion was brought into China with the arrival of Buddhism, where it became associated with the more familiar dog during assimilation. The lion is a sacred creature in the Buddhist pantheon and the Fu Lion was believed to be a companion of the Buddha.

While sculptures of Fu Lions originally stood guard outside Buddhist temples, by the time of the Ming Dynasty, when this work was created, the lions had lost most of their religious significance and were placed outside the entrances to homes and palaces out of custom. Even today, many monumental public buildings are decorated with lion figures standing guard at the base of the stairway. This female lion uses her front paw to trample a demon.

This traditional gesture symbolizes the lion’s authority over evil spirits that might have tried to infiltrate the temple or palace. The delicate red, blue and yellow is particularly fine. The lion’s wideopen mouth and protruding tongue have been expertly sculpted. The care lavished on this magnificent creation is also apparent in the swirling motifs, achieved through the use of incised lines, that decorate the plinth.

Ming Dynasty Painted Male Lion 1368 CE – 1644 CE Terracotta (DL.1002) £45,000

Set of 3 Ming Dynasty Painted and Gilded Sandstone Seated Female Figures

1368 CE – 1644 CE Sandstone (DL.1009) £270,000

This stunning set of three seated female figures dates from this exciting period of artistic achievement. Each figure is seated on a bench, which is raised up on a high plinth, decorated with low relief carvings of a pair of scissors and a comb. The women, dressed in elaborate robes with wide sleeves, hold small dishes in their hands which may represent offering bowls of some kind.

Their hair is arranged in a tight bun which crowns their head. Considerable traces of the original polychromy survive including blues, greens, reds and a golden yellow. The faces have been painted white to stand out against the vibrant rainbow of colours which adorned their costumes. Although each woman adopts an almost identical pose, their facial features have been carefully differentiated. This spectacular set of sculptures gives a vivid impression of the artistic excellence achieved during the Ming era.

A Ming Dynasty Painted Stucco Couple

1368 CE – 1644 CE Stucco (DL.2070) £150,000

Standing on two sculpted bases, both figures perform the same gestures, with one hand raised and the other hidden within the sleeve of their long gowns. A small round object survives between the thumb and forefinger of the female and it is likely that the man once held a similar item. Considerable traces of the original polychromy remain and remind us that these figures would once have been alive with colour. The outer robes were dark blue, worn over a red undergarment. The hairstyles are traditional and the attention to detail is nowhere more apparent than in the expertly fashioned hairpin worn by the female. The deep furrows on the man’s forehead suggest wisdom and old age, while the female has a more youthful appearance.

Ming Dynasty Sandstone Lady

1368 CE – 1644 CE Sandstone (DL.2099) £300,000

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. 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. This charming statue of a lady belongs to this exciting chapter in China’s history. Standing tall on a rectangular plinth, the figure clasps her hands together at chest height. Her flowing robes have been exquisitely carved, especially where they descend over her forearms, swaying slightly to our right as if caught in a gentle breeze. The lady’s round face and kind eyes have a matronly quality although her exact status is unclear. She may well represent an attendant at court although this is merely conjecture. The sculpture is in excellent condition.

Ming Dynasty Sandstone Standing Bodhisattva

1368 CE – 1644 CE Sandstone (DL.2100) £60,000

Buddhism travelled to China from India along the Silk Road during the 1st Century AD. By the period of the Tang Dynasty (618-906 AD) it had become central to Chinese religious culture. This sculpture, dating to the Ming Dynasty, represents a bodhisattva standing on a rectangular plinth. The figure is positioned with its weight resting on the left leg, while the right is delicately extended to the front of the base. The left arm is raised and a cloth has been expertly carved to fall between the figure’s fingers. The right arm is extended across the body at waist level, with the drapery falling over the front. The elaborate headdress is typical of a bodhisattva. Buddhas, by contrast, were typically depicted modestly clothed. A bodhisattva is an enlightened being who has chosen to delay entry into Nirvana and remain in the world to help other sentient beings achieve enlightenment. This mission is reflected in the figure’s sympathetic visual expression; the rounded face, small mouth and welldefined chin suggest a child-like appearance. This is also implied by the playful sense of movement. In contrast to more static, meditative bodhisattvas, this figure is lively and enchanting.

Pair of Ming Dynasty Sandstone Tiles

1368 CE – 1644 CE Sandstone (DL.2102) £480,000

Carved in high relief these exquisite tiles depict two youthful standing figures richly dressed and with elaborate headdresses against an ornate architectural background. The body posture and the serene facial expression denote a masterful attention to detail. With their round faces and sweet expressions these visually stunning figures create a playful atmosphere, displaying at the same time the high level of craftsmanship achieved by the artists of this period.

Ming Dynasty Stone Seated Buddha

1500 CE – 1600 CE Stone (FF.001) £65,000 This stone sculpture depicts the universal (Vairocana) Buddha seated in padmasanam (lotus position) and the hands folded together, palms up, in a meditative position known as dhyana mudra. The Buddha wears a pantaloon-like garment overlain with a loose, flowing tunic. His facial expression is concentrated and lost in deep meditation. His hair is represented by a series of spiraled curls painted blue with the supra-cranial eminence – believed to denote Buddha’s wisdom and learning – protruding from the center of his head and highlighted with red paint. The earlobes are long and pendulous, the result of wearing heavy earrings during his princely youth. Unlike some early Chinese Buddha images, such as the Sakyamuni Buddha, the Vairocana Buddha is shown in the standard meditating pose. This reflects the effort made by the Chinese to reinterpret the Buddhist religion, which by the time of the Tang Dynasty had become a central and important part of the Chinese culture. As Buddhism continued to thrive in China, the tenets of the faith and its iconography were continually reinterpreted by generations of religious philosophers and artisans, Soon, the traditional appearance of the Buddha as promulgated by Indian artisans had been changed almost beyond recognition, as this extremely fine figure testifies.

Ming Dynasty Stone Sculpture of Guan Yu

1368 CE – 1644 CE Stone (FF.058) £80,000

This remarkable stone sculpture is a testament to the popularity of Guan Yu during the Ming era. Resting on a rocky mound, the general sits with his legs wide apart in a gesture of invincibility. His right hand is tightly clenched and his left rests on his thigh, pointing inwards at a sharp angle. The drapery has been finely carved, especially the wide collar and the folds beneath his rotund belly. The fabric has been hitched up to knee level so that the details of the armour beneath and the intricately modeled shoes. A long flowing beard and moustache, Guan Yu’s most defining characteristics, hang down over the chest. The facial expression, especially the furrowed brow, is the highlight of this sculpture, capturing the determination that led to his military success. The folded cap, knotted at the reverse, is also customary. Although the stone surface is now exposed, it is possible that the sculpture was once polychromed. Guan Yu was famous for his red face and green robe, worn over his body armour.

Ming Dynasty Wooden Seated Buddha

1500 CE – 1700 CE Wood (HK.2042) £600,000

This is a very rare Ming dynasty wooden sculpture of Buddha Shakyamuni. Seated in lotus posture, the Buddha forms his hands in dharmacakra mudra, denoting his first sermon in the deer park. The Buddha has a narrow face and a voluminous physique.

The transition from the Buddha’s hair and his ushnisha is smooth. The robes are depicted elegantly, with particular attention paid to the drape and folds on his lower body. Wooden sculptures, often life-size or over, were common in north China from about the 11th to the 17th centuries. Their construction is particularly associated with Shanxi province, where the two preeminent centres of Buddhist activity were Taiyuan and Wutai shan. The style can generally be traced back to late 7th- and 8th-century Tang sculpture, as at the Tianlong shan caves, Taiyuan. Compared with the delicate-limbed deities there, these wooden figures are more fleshily modelled, with naturalistic faces and sometimes, as here, glassy, reflecting eyes; their voluminous yet relaxed bodies offer a compelling vision of the Buddhist ideal.

Ming Dynasty Celadon Bowl

1368 CE – 1644 CE Celadon (NP.003) £68,000

It is thought that the pale green glaze called Celadon was originally developed in Ancient China in order to evoke the shades of jade. Today, the term can refer to either the glaze, which actually comes in a variety of colors, or to the wares themselves, specifically those of the popular pale green color. Celadon production in China is particularly associated with the region of Longquan in southwestern Zhejiang Province. Longquan Celadon, considered the finest in China, was an important part of China’s export economy for over five centuries spanning the reigns of the Southern Song, Yuan, and Ming Dynasties. While Longquan wares were traded throughout East Asia, Southeast Asia, and Europe, they were most celebrated in the Islamic world, where they were exported in great numbers. It was recorded that the great Ayyubid Sultan Saladin sent forty pieces of Celadon wares to the Sultan of Syria in 1171. Some scholars have even proposed that the word “Celadon” itself is a corruption of “Saladin.” Potters across Central and Southeast Asia also adopted the use of Celadon glazes, and some of the most magnificent examples of Celadon wares come from Goryeo era Korea.

Ming Dynasty Wooden Sculpture

1368 CE – 1644 CE Wood (NP.005) £45,000

This imposing wooden sculpture depicts the universal (Vairocana) Buddha seated in padmasanam (lotus position) and the hands folded together, palms up, in a meditative position known as dhyana mudra. He holds a small spherical object in his hand, which is commonly interpreted either as a medicine jar, a pearl of wisdom, or a wealth ball. Dressed in flowing garments, this figure sits pensively in deep meditation. His hair is represented by a series tightly spiraled curls with the supra-cranial eminence – believed to denote Buddha’s wisdom and learning – protruding from the top of the head. The earlobes are long and pendulous, the result of wearing heavy earrings during his princely youth. Unlike some early Chinese Buddha images, such as the Sakyamuni Buddha, the Vairocana Buddha is shown in the standard meditating pose. This reflects the effort made by the Chinese to reinterpret the Buddhist religion, which by the time of the Tang Dynasty had become a central and important part of the Chinese culture.

Ming Dynasty Glazed Horse

1368 CE – 1644 CE Glazed Terracotta (SP.443) Price Upon Request

The impact of the horse on the history of China cannot be underestimated. In fact, the ancient unification and expansion of the Chinese Empire was due in large part to this majestic creature. Their rapid mobility enabled quick correspondence between far away provinces, allowing the establishment of a centralized power. Likewise, the military role of horses aided in the conquest and submission of distant lands. Believed to be relatives of mythological dragons, a theory reflecting their sacred status, horses were glorified and revered in sculpture, painting, and literature. During the unification of China under the Han Dynasty, bands of mounted nomadic warriors from the north threatened the country. In order to thwart their attacks, the Chinese imported stronger, faster steeds from Central Asia (as opposed to the native Mongol ponies) eventually leading to the creation of the Silk Road. In ancient China, owning a horse required wealth and status. Eventually, they became signs of one's social standing. This glazed sculpture of a horse captures the bold lines and strong muscularity of the horse, while the ornate saddle and straps suggests man’s symbiotic relationship with the horse. From the Han to the Ming, there was a custom of burying grave goods with dead bodies. It was believed that, by interring the horse with the dead, the sculpted version could assume the powers of its living counterpart in the afterlife and assist the deceased in the dangerous journey to the next world.

Ming Dynasty Lacquered Wood Sculpture of Guanyin

1368 CE – 1644 CE Lacquered Wood (X.0731) £150,000

Early depictions of Bodhisattva Avalokitesvara displayed male characteristics, but this tradition subsequently became less rigid.

By the end of the Yuan Dynasty (AD 1367/8), most Guanyin sculptures depicted the beings as young women, often bearing a vase of holy water to cleanse the souls of those they were bound to protect. According to legend, Guanyin was born on the nineteenth of the second lunar month, achieved enlightenment on the nineteenth of the sixth lunar month and achieved nirvana on the nineteenth of the ninth lunar month. The current example is female and stands 39" tall on an incorporated base. The pose is slightly contrapposto with the weight shifted onto the right leg while the left is slightly bent. The left-hand hangs by the side, holding some implement or piece of drapery. The right hand is raised and appears to be an object of contemplation by Guanyin.

The head is carved in a mood of reflective serenity and is inclined slightly to the right. The sculpture is topped with a tall, ornate crown of generally floral aspect, with plume-like eminences arranged in vertically oriented bunches. Th underlying hair has been gathered up underneath the crown, leaving a halo of hair around its perimeter. A loose tunic-like garment (dhoti) envelops the lower half of the body, and further drapery (scarves) is casually wrapped over the shoulders. The complexity of the drapery and the care with which it has been carve is stunning - the individual folds and creases are all cleanly and deftly rendered, and contrast with the smooth texture of the skin. The figure additionally wears two bracelets on the left wrist, as well as necklace and pendant arrangement in the chest area.

LONDON 58 Brook Street, London W1K 5DT +44 (0) 207 493 7778 SEOUL 36 Samcheong-ro, 7-gil Jongno-gu +82 27301949 SEOUL 58-4 Samcheong-ro, Jongno-gu +82 27301949 LOS ANGELES 941 N La Cienega Blvd, California CA 90069 +1 (310) 859 8408 HONG KONG 187 Hollywood Road, Sheung Wan +852 26382262 HONG KONG 21 Wong Chuk Hang Road, Global Trade Square +852 26382191 AMMAN 31 Nagdawi Street, Rabieh, Amman, Jordan +44 7710 444642 MARRAKECH 42 Jowhar, Residence Prestigia, 4000 Menara, Guelz-Marrakech +44 7710 444642

Barakatgallery.eu info@barakatgallery.eu fayez@barakatgallery.com