- Other titles:
- Figure of Buddha
- Function space
- Further information
A massive & imposing image of the Buddha conveys with an emphatic simplicity great spiritual power & presence. As is usual with figures of such antiquity, the head & hands are now missing. The appearance of the figure is characterised by the elegant fall of the robes, a convention that became the main defining principle in the determination & evolution of artistic style in the traditions of Chinese Buddhist sculpture. The figure wears the traditional monks' robes that are gathered over the left shoulder & attached by a bow & a floral-like motif. On the reverse side the robes are again defined by broad sweeping lines of great simplicity & sophistication. Two square perforations on the back may have once been the fixing points for the mandorla, or merely lifting points. The position of the arms suggests that the right hand was originally held in the "abhaya mudra", the gesture of assurance, & the left hand in the "varanda mudra", the gesture of granting a wish. The combination of these gestures, with the style & the date of the figure suggests that it represents "Amitabha Buddha", the Buddha of the Western Paradise. At this time, the late 6th & early 7th Centuries, the teachings of the Paradise Sutras were becoming the mainstream theology of Buddhist China & the image of its principal deity, "Amitabha Buddha", the most popular figure.
Art Gallery Handbook, 1999. pg.249.
The marble from which the figure is carved suggests the region of Dingzhou, Hebei Province, as the place of origin.
Asian Art Dept, AGNSW.
- Place of origin
- China: Sui dynasty 581–618
- 581 CE-618 CE
- 210.0 x 81.0 x 42.0 cm
- Signature & date
Not signed. Not dated.
- Art Gallery of New South Wales Foundation Purchase 1997
- Accession number
- Private Collection, pre 1980s, Japan
Jui-chin Wang, 1980s-1990, Tamsui/Taiwan
Wui Po Kok Antique Co. LTD., 1990-1997, Hong Kong
Eskenazi Ltd Oriental Art, Dec 1997, London/England, with Giuseppe Eskanzi (art dealership). Purchased by the Art Gallery of New South Wales, Sydney, 1997.