A rare Jun-type glazed figure of Buddha, 18th century, the European ormolu mount 19th century
Lot 155. A rare Jun-type glazed figure of Buddha, 18th century, the European ormolu mount 19th century. Estimate £5,000 - 8,000. Sold for £75,000 (€88,665). Photo: Bonhams.
he Buddha rendered with downcast and serene expression beneath blue glazed hair, seated in dhyanasana, the hands raised in front of the chest in auspicious mudra, clad in an bright red robe draped over the shoulders, the exposed skin of the Buddha applied with lacquer and gilt, with ornate metal stand. 28.5cm (11 1/4in) high. (2).
Note: Compare with a related guan-type glazed figure of Buddha, Yongzheng-Qianlong, in the Sir Augustus Wollaston Franks collection (1826-1897), in the British Museum, museum no.Franks.244. It is possible that the present lot would have been part of a set of Buddhas produced in different glazes.
Figure of the Buddha, Gautama, Guan yao type, Qing dynasty, Yongzheng-Qianlong period (1723-1795). Donated by Sir Augustus Wollaston Franks collection (1826-1897), Franks.244. © The Trustees of the British Museum.
Compare also the modelling of a white-glazed figure of Guanyin, inscribed 'Respectfully made by Tang Ying', Qianlong, illustrated in Tianjin Museum, London, 2012, pl.222. Tang Ying (1682-1756), acclaimed as the greatest of all the supervisors of the Imperial Kilns, first came to the kilns as resident assistant in 1728. He was particularly known for his highly successful imitation of early wares; the Jingdezhen tao lu notes that: 'His close copies of famous wares of the past were without exception worthy partners [of the originals]; and his copies of every kind of well-known glaze were without exception cleverly matched ...', translated by R.Kerr in Chinese Ceramics - porcelain of the Qing Dynasty 1644-1911, London, 1986, p.20.
This innovation steeped in tradition by reintroducing earlier glazes of the Song dynasty, such as Jun and Guan are indeed evident in the present lot and the British Museum example mentioned above. The careful modelling of both Buddha examples are similar in their treatment to that of the Tianjin Museum Guanyin.

