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26 octobre 2017

A magnificent and monumental stone head of Buddha, Tang dynasty (618-907)

A magnificent and monumental stone head of Buddha, Tang dynasty

Lot 88. A magnificent and monumental stone head of Buddha, Tang dynasty (618-907). Estimate 350,000 — 450,000 USD. Lot sold 352,000 USD. Photo: Sotheby's.

the plump face finely carved with almost perfectly symmetrical features imparting the buff sandstone with a serene vitality, the eyebrows rising across the broad brow in smooth curves issuing from the low bridge of the nose above globular nostrils, the deeply-set large eyes half-closed under heavy lids sweeping in bowstring curves, the full cheeks drawn into the delicately shaped mouth above the rounded double-chin, flanked with backswept ears ending in fragmentary pendulous lobes, all beneath a tier of overlapping folds of hair combed in rising and falling waves around a flattened hemispherical bun, each set with tight whorls representing the ushnisha; 42 1/8 in., 107 cm.

ProvenanceFrom an Important Asian Collection
Sotheby's London, June 19, 1999, lot 738.

Note: This head, with its perfectly even, idealised features, is remarkable not only for its size, but also for its exquisite manner of carving and represents a prime example of the mature style of the High Tang. Comparable sculptures are hard to find, particularly of this size, since it would most likely have been a monumental figure when intact, and therefore presumably from an important complex. Compare a massive crowned figure of Vairocana from the Leigutai Caves at Longmen, Henan province, exhibited at the Metropolitan Museum of Art, New York, China. Dawn of a Golden Age, 200-750AD, 2004, cat.no.192, which, at 2.40 meters, is perhaps half the size the present lot would originally have been. The long elongated eyes on the Longmen figure and the present head are both characteristic of the High Tang style circa 700AD, although the fine-grained reddish sandstone on the present head indicates a different regional site.

The head is fully carved in-the-round, with the undulating lobed hair and a spiralling central curl continuing to the back of the head, free from any supporting attachments to the niche-wall. As such, given its size, its construction would have been a significant technical and engineering marvel. The treatment of the hair, with a central whorl against undulating lobes, reveals the influence of the Tianlongshan sculptural style, from Shanxi province, compare a series of seated Buddhas illustrated in Siren, Chinese Sculpture from the Fifth to Fourteenth Centuries, Vol.II, 1998, pls.486, 489 and 499, although those figures emerge only partially from the niche-walls. It is also interesting to compare the immense Maitreya in related reddish sandstone, in Cave III at the Yungang complex, Shanxi province, illustrated ibid, pls.290-291, probably carved in the early Tang period, to note the viewing angle of the present head from beneath must have been acute. More importantly, similar features are notable in the treatment of the strongly projecting hairline, deep undercutting to the eyebrows, chin and nostrils, and the rather under-carved rounded cheeks.

Sotheby's. Fine Chinese Ceramics & Works of Art, New York, 31 mars 2005

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