T H E B A R A K A T G A L L E R Y

Chinese Art

Song Dynasty
960 AD - 1279 AD
Yuan Dynasty
1271 AD - 1368 AD
 Song Dynasty
After the collapse of the Tang Dynasty (906 AD), there was a succession of short-lived
governments (known as the Five Dynasties). This period of unrest came to an end with
the establishment of the Northern Song Dynasty in 960 AD. Renewed political stability
helped to usher in a period of economic prosperity and a massive rise in population.
Amongst the many cultural achievements of the Song Dynasty, the re- invigoration of
the examination system and the invention of movable type rank highly. Intellectually
the greatest achievement was the development of Neo-Confucianism- a philosophical
movement heavily influenced by Buddhist teachings. Although Buddhism had reached
China from India during the Han Dynasty, it took time for the new faith to make
progress. This was partly because it had to compete with native ideologies, namely
Confucianism and Daoism. It was possible, however, to find common ground between
these belief systems and by the Tang Dynasty Buddhism was experiencing a golden
age in China.
 Large Sculpture of a Recumbent Ram

H.o40 Collection: Chinese

Origin: China Medium: Granite
Circa: 960 AD to 1279 AD Location: United States
This stone sculpture depicts a kneeling ram slightly lifted by its fore legs. The animal
kneels on a square slab mount with a protruding mound beneath its belly. The curved
horns follow the line of the jaw and neck tucked between pulled ears. A delicately
carved face reveals the realistic aspects of the animal as well as its gentle and docile
attributes.
Chinese stone spirit road statuary represents a strong and ancient branch of
monumental sculpture based on beliefs connected with ancestor worship and the
importance of tombs. The tradition had existed since the Han Dynasty although the
belief in the inherent power of an image to bring about that which it represented or
symbolized predates Han stone statuary. This belief that an image could influence both
the material and spiritual worlds was magnified through the association of stone with
immortality. The Song differed from their predecessors by producing images of
animals for purely symbolic reasons. Sheep (or rams) and tigers appear in their ancient
traditional form derived from Bronze Age figurines--the kneeling sheep symbolizing
filial piety; the tiger, martial valor. - (H.o40)
 Marble Sculpture of a Seated Sage

H.042 Collection: Chinese

Origin: China Medium: Marble
Circa: 960 AD to 1279 AD Location: United States
Dimensions: 26.25" (66.7cm) high x
15" (38.1cm) wide
Shown seated on a throne, this figure clasps his hands beneath the long folds of a
flowing robe, seemingly holding an emblem or offering. The tips of his shoes appear
beneath the hems of layered clothing which is accompanied by a hanging sash and
square chest plate. The figure is portrayed with a strong jawbone, broad facial features,
pendulant earlobes, and complacent expression. His thick combed hair is neatly tucked
under a triangular shaped crown adorned with a gem studded band and an image of a
meditating Buddha on a lotus throne. Though it is unclear whether this figure
represents a Taoist deity, Confucian dignitary, or Buddhist figure, it is probable that he
possesses admirable virtues or extraordinary ability that make him a worthy subject for
stone work. Since stone was associated with the cult of immortality, only the heroic
and sagacious were chosen for this medium. - (H.042)
 Stone Sculpture of a Head

H.043 Collection: Chinese

Origin: China Medium: Stone
Circa: 960 AD to 1279 AD Location: United States
Dimensions: 9.5" (24.1cm) high x
6.5" (16.5cm) wide
The menacing expression of this figure is magnified by a tensed browline, narrow inset
eyes, flaring nostrils, and a pronounced beard and mouth. The exaggerated features are
achieved through the technique of the sculptor, whose bold cuts into the stone enhance
the three dimensionality and thus release the vitality of the subject. Stylistic changes in
the portrayal of military men and protective deities are evidenced in this head as a
result of the penchant toward civil life--the rounded face implies suppleness and the
banded headdress with large floral motif in the front center suggests a trend toward
blending the martial and civil traditions using Taoist and Confucian symbolism. The
tacit association of stone with immortality created a situation in which only virtuous
subjects, such as heroes and sages, were represented with serious restrictions on how
their virtues could be portrayed. It is likely that this stone head once topped a goliath
figure which either represented a historical personage memorialized in stone or a
conventional martial image that belonged to a larger constellation of characters that
aligned the spirit road. - (H.043)
 Large Sculpture Of A Rat

H.525 Catalogue: V17

Origin: China Collection: Chinese
Circa: 960 AD to 1279 AD Medium: Granite
Dimensions: 19.25" (48.9cm) high Location: United States
This mounted stone carving of a rat is representative of the craftsmanship of Song
Dynasty carvers as production for certain auspicious animals, guardians, and Buddhas
increased in tandem with the trend to aggrandize places of worship or memorial halls.
With the massiveness of stone slats, artisans could create awe-inspiring dragons and
guardians to stand at the entrances of tomb complexes, palaces and temples. The
preference for a rock medium is also tied to the belief that rock contains a positive
energy that could be transferred to the carved formation endowing it with a strong life
force. Crouched with legs bent and tail stretched out, the rat's face projects over one
end of the mount. Its ears stand up, and its gently carved features give a countenance of
solemnity. The rat is the first of the twelve animals that makes up the Twelve Terrestrial
Branches, and is an emblem of timidity and meanness. It is also regarded as a symbol
of industry and prosperity on account of its ability for locating, acquiring and hoarding
abundant supplies of food. Among the various structures that were adorned with large
stone carvings, tombs attracted special categories of sculpture: pillars at the entrance
and large carvings of animals and men. Stone pieces from the Song Dynasty tended to
depict the real world. It is likely that this carving of rat could have been placed near a
tomb complex. - (H.525)
 Song Stone Head of Buddha

H.551 Catalogue: V20

Origin: China Collection: Chinese
Circa: 960 AD to 1279 AD Medium: Stone
Dimensions: 10" (25.4cm) high x Location: United States
6.75" (17.1cm) wide
This head of Buddha is an exquisite example of the trend toward simplistic renderings
of Buddhist images as a result of the expansion of Ch'an school teachings during the
Sung period. The face is rounded and carved with a sense of fluidity as the facial
expressions convey the blissful, serene sensation of enlightenment. The lips of the
mouth are upturned, giving the impression of a "smiling Buddha," and the eyes are half
closed in meditation, accentuating the Buddha's transcendence of all states of
existence. Elegantly arched eyebrows and the delicately sculpted nose create a fluid
line that extends beyond both corners of the mouth to the undefined area of the chin,
giving the face a rather supple feel. The hair is twisted into tight curls incised with
spirals forming an usnisa, a swelling on the top of the head signifying the Buddha's
enlightenment. Though the swelling is usually covered with hair, in this image, it is
bare, boldly protruding from the summit of the head. The pendant earlobes curve
upward at the tips, unadorned and rounded. Buddhist sculpture of the Sung period is
characterized by sentimentalism, expressed through the grace and feminine refinements
of the features. This sculpture captures the artistic as well as spiritual sentiments of the
period. - (H.551)
 S o n g B r o w n - G l a z e d Va s e

PF.5334 Collection: Chinese

Origin: China Medium: Terracotta
Circa: 960 AD to 1279 AD Location: United States
Dimensions: 17.25" (43.8cm) high x
10.5" (26.7cm) wide
Used to contain liquids, this vase is a T’ang archetype that is characterized by its high
sloping shoulder and long rounded belly that tapers at the foot. A shiny, dark brown
glaze has been applied to the surface with occasional pitting and mottled amber streaks
more concentrated in the neck area. Though the glaze continues on the inner side of the
neck, the beveled lip is left unglazed, displaying an appealing coarse texture illustrative
of the transitional T’ang-Song Dynasty taste for unadorned, natural beauty. - (PF.5334)
 S o n g B r o w n - G l a z e d Te r r a c o t t a Va s e

H.612 Collection: Chinese

Origin: China Medium: Glazed-Terracotta
Circa: 960 AD to 1279 AD Location: United States
Dimensions: 8" (20.3cm) high
This gorgeous vessel, covered in a dark brown glaze, feature two twisted handles that
connect the join of the bulbous neck and shoulders to the body. The classical shape is a
type still seen today in rice-wine vases throughout China and Japan. Most likely, this
vessel served the same function in its own day. The short-lived Song (also spelled
Sung) Dynasty partially reunified the country after a period of turmoil following the
fall of the T’ang. Historically, the Song are noted for their revival of the ancient
Confucian beliefs, ushering a period known as Neo-Confusianism that would dominate
Chinese (and later on Japanese) thought for the next several centuries. Although best
known for their philosophical contributions, this vase attests to the rich artistic tradition
that flourished under the enlightened rulers of the Song Dynasty. The rich brown glaze
is astounding not for its uniformity, but for its subtle variations of hue. The beige of the
clay seeps through in portions where the glaze settled more thinly appearing almost
violet in color. The beauty of this vessel is timeless. A true classic, it would appear as
equally striking resting on a table in a modern home or being passed around during a
Song Dynasty ceremonial feast. This vase symbolizes the joys of life: drinking,
celebrating with friends, art, and appreciation of beauty. More than a relic, this vase is
a reminder of all we share with the past, reminding us that our modern culture is deeply
rooted in the traditions and cultures of those who came before us. - (H.612)
 R e l i e f P a ne l D epicting an A tte nd ant

H.657 Collection: Chinese

Origin: China Medium: Terracotta
Circa: 960 AD to 1279 AD Location: United States
Dimensions: 16.75" (42.5cm) high
The Sung (Song) Dynasty partially reunified China after a period of chaotic turmoil
following the fall of the T’ang. Historically, the Sung are noted for their revival of the
ancient Confucian beliefs, ushering a period known as Neo-Confusianism that would
dominate Chinese (and later on Japanese) thought for the next several centuries.
Although best known for their philosophical contributions, this relief panel attests to
the rich artistic tradition that flourished under the enlightened rulers of the Sung
Dynasty. Discovered buried inside a tomb, this gorgeous figurative panel, sculpted in
high relief, depicts a beautiful female attendant patiently awaiting the command of her
master. Her hair is elegantly modeled and she features a sweetly smiling visage that
reveals the influence of T’ang statuary on the art of the Sung Dynasty. The woman is
draped in a cloth robe that hangs down to her feet; the curved tips of her shoes are
visible protruding at the bottom. She presents us with a tray of assorted foods that were
meant for consumption in the afterlife. Thus this attendant would have continued to
serve her master even after his earthly demise. That tradition of elaborate burial tombs
containing treasures from life and sculpted replica of courtly entourages dates back to
the earliest dynasties of China. By the time of the Han (206 B.C.-220 A.D.), this
practice had become entrenched in Chinese culture. These elaborate burials reflect the
ancient philosophical and religious beliefs that the afterlife was an extension of our
earthly existence. While this panel might have been interred more as a traditional
custom than as an otherworldly servant, such work reveals the tremendous artistic
heritage of China. This work is created out of an age-old tradition assuring that the
deceased was welcomed into the next world and well provided for. With gorgeous
surroundings such as this panel, what more could one ask for to be ushered into the
afterlife? - (H.657)
 R e l i e f P a ne l D epicting an A tte nd ant

H.658 Collection: Chinese

Origin: China Medium: Terracotta
Circa: 960 AD to 1279 AD Location: United States
Dimensions: 16.25" (41.3cm) high
The Sung (Song) Dynasty partially reunified China after a period of chaotic turmoil
following the fall of the T’ang. Historically, the Sung are noted for their revival of the
ancient Confucian beliefs, ushering a period known as Neo-Confusianism that would
dominate Chinese (and later on Japanese) thought for the next several centuries.
Although best known for their philosophical contributions, this relief panel attests to
the rich artistic tradition that flourished under the enlightened rulers of the Sung
Dynasty. Discovered buried inside a tomb, this gorgeous figurative panel, sculpted in
high relief, depicts a beautiful female attendant patiently awaiting the command of her
master. Her hair is elegantly modeled and she features a sweetly smiling visage that
reveals the influence of T’ang statuary on the art of the Sung Dynasty. She presents us
with a tray of round bun-like treats that were meant for consumption in the afterlife.
Thus this attendant would have continued to serve her master even after his earthly
demise. That tradition of elaborate burial tombs containing treasures from life and
sculpted replica of courtly entourages dates back to the earliest dynasties of China. By
the time of the Han (206 B.C.-220 A.D.), this practice had become entrenched in
Chinese culture. These elaborate burials reflect the ancient philosophical and religious
beliefs that the afterlife was an extension of our earthly existence. While this panel
might have been interred more as a traditional custom than as an otherworldly servant,
such work reveals the tremendous artistic heritage of China. This work is created out of
an age-old tradition assuring that the deceased was welcomed into the next world and
well provided for. With gorgeous surroundings such as this panel, what more could one
ask for to be ushered into the afterlife? - (H.658)
 Painted Relief Panel Depicting a Chef

H.659 Collection: Chinese

Origin: China Medium: Stone
Circa: 960 AD to 1279 AD Location: United States
Dimensions: 21" (53.3cm) high
The Sung (Song) Dynasty partially reunified China after a period of chaotic turmoil
following the fall of the T’ang. Historically, the Sung are noted for their revival of the
ancient Confucian beliefs, ushering a period known as Neo-Confusianism that would
dominate Chinese (and later on Japanese) thought for the next several centuries.
Although best known for their philosophical contributions, this panel, rendered in low
relief, attests to the rich artistic tradition that flourished under the enlightened rulers of
the Sung Dynasty. Discovered buried inside a tomb, this gorgeous rectangular panel
depicts an elegantly dressed chef presenting his latest dish fresh from the kitchen. The
culinary arts of China are the oldest and most sophisticated in the world. Cooking was
considered an art form as early as the 5th century B.C. when the earliest etiquette texts
were written. The noble dress of this chef, including the black headdress and red tunic,
reflects his honored position within the courtly entourage. He appears to be walking, as
if caught in the act of delivering this meal to the table. We can almost imagine the
fragrant aromas tantalizing our noses as our appetites are whetted. Although we cannot
know who this chef was, we can assume that he worked on the staff of the noble elite,
for only such high-ranking members of society could command such extravagant burial
rites. Most likely, this stone panel was specifically commissioned for the sole purpose
of accompanying the deceased into the afterlife, thereby reflecting both the wealth of
the deceased as well as the familial piety of his ancestors. Thus, this divine meal was
not meant for human consumption, but serves as a symbol of the celebratory feasts that
await our spirits in heaven. - (H.659)
Painted Relief Panel Depicting an Attendant

H.660 Collection: Chinese

Origin: China Medium: Stone
Circa: 960 AD to 1279 AD Location: United States
Dimensions: 20.75" (52.7cm) high
The Sung (Song) Dynasty partially reunified China after a period of chaotic turmoil
following the fall of the T’ang. Historically, the Sung are noted for their revival of the
ancient Confucian beliefs, ushering a period known as Neo-Confusianism that would
dominate Chinese (and later on Japanese) thought for the next several centuries.
Although best known for their philosophical contributions, this relief panel attests to
the rich artistic tradition that flourished under the enlightened rulers of the Sung
Dynasty. Discovered buried inside a tomb, this gorgeous rectangular panel, sculpted in
low relief, depicts a beautiful female attendant patiently awaiting the command of her
master. Her hair is elegantly styled and she wears a tunic, painted red, covering her
long flowing robes. She carries a vessel of sorts in her two hands, perhaps a teapot,
seemingly offering us a taste. However, this beverage is meant for consumption in the
afterlife. Thus, this attendant would have continued to serve her master even after his
earthly demise. The tradition of elaborate burial tombs containing treasured relics from
life and sculpted replica of courtly entourages dates back to the earliest dynasties of
China. By the time of the Han (206 B.C.-220 A.D.), this practice had become
entrenched in Chinese culture. These elaborate burials reflect the ancient philosophical
and religious belief that the afterlife was an extension of our earthly existence. This
work is created out of an age-old tradition assuring that the deceased was welcomed
into the next world and well provided for. With gorgeous surroundings such as this
panel ushering one into the afterlife, heaven must be even more spectacular than ever
imagined. - (H.660)
 Painted Relief Panel Depicting a Chef

H.661 Collection: Chinese

Origin: China Medium: Stone
Circa: 960 AD to 1279 AD Location: United States
Dimensions: 21" (53.3cm) high
The Sung (Song) Dynasty partially reunified China after a period of chaotic turmoil
following the fall of the T’ang. Historically, the Sung are noted for their revival of the
ancient Confucian beliefs, ushering a period known as Neo-Confusianism that would
dominate Chinese (and later on Japanese) thought for the next several centuries.
Although best known for their philosophical contributions, this relief panel attests to
the rich artistic tradition that flourished under the enlightened rulers of the Sung
Dynasty. Discovered buried inside a tomb, this gorgeous rectangular panel, sculpted in
low relief, depicts an elegantly dressed chef bringing out his latest dish from the
kitchen. The culinary arts of China are the oldest and most sophisticated in the world.
Cooking was considered an art form as early as the 5th century B.C. when the first
etiquette texts were written. The noble dress of this chef, including the black headdress
and red cloak with white spots, reflects his honored position within the courtly
entourage. He appears to step forward, as if caught in the act of delivering this meal to
the table. We can imagine him pulling off the lid as the steamy aromas tantalize our
nose and the colors tease our eyes. Although we cannot know who this chef was, we
can assume that he worked on the staff of the noble elite, for only such high-ranking
members of society could command such an extravagant burial. Most likely, this stone
panel was specifically commissioned for the sole purpose of accompanying the
deceased into the afterlife, thereby reflecting both the wealth of the deceased as well as
the familial piety of his ancestors. Thus, this divine meal was not meant for human
consumption, but spiritual. - (H.661)
 Stone Buddha Head

PF.5332 Collection: Chinese

Origin: China Medium: Stone
Circa: 960 AD to 1279 AD Location: United States
Dimensions: 16" (40.6cm) high
A beautiful representation of Buddha with a tight-locked, swirl curl hairstyle, this piece
exemplifies the rich iconographic world of Buddhism. Each curl contains a stylized
version of the Buddhist symbol of the law 'which resembles a reversed swastika. The
conical modeling of the. head allows the elaborate display of repetitious hair locks
which is considered to be a special mark of a Buddha signifying his superior spiritual
knowledge and achievement. Though exhibiting other Buddha- like features, such as
pendulant earlobes and lines at the chin and neck, the cranial protruberance of
knowledge and enlightenment, ushnisha, appears absent; it is perhaps suggested,
however, in the conical formation of the head.
Sung period sculpture is characterized by monumental, blocky forms which convey the
essence of heaviness, figuratively relating to one's profundity and resolve. Depicted in
a state of meditation, the figure is given a full face, half-crescent eyes, long arched
eyebrows, high-bridged nose. and small mouth. The state of calm is clearly conveyed
through the Buddha's expression and energy which were intended to instruct and
inspire us toward the path of enlightenment. - (PF.5332)
 A r c h i t e c t u r a l Ti l e F e a t u r i n g a P o l o P l a y e r

H.707 Collection: Chinese

Origin: China Style: Song Dynasty
Circa: 960 AD to 1279 AD Medium: Painted Terracotta
Dimensions: 11.25" (28.6cm) high Location: United States
 A r c h i t e c t u r a l Ti l e F e a t u r i n g a P o l o P l a y e r

H.710 Collection: Chinese

Origin: China Style: Song Dynasty
Circa: 960 AD to 1279 AD Medium: Painted Terracotta
Dimensions: 11" (27.9cm) high Location: United States
 A r c h i t e c t u r a l Ti l e F e a t u r i n g a P o l o P l a y e r

H.709 Collection: Chinese

Origin: China Medium: Painted Terracotta
Circa: 960 AD to 1279 AD Location: United States
Dimensions: 11.25" (28.6cm) high
 A r c h i t e c t u r a l Ti l e F e a t u r i n g a P o l o P l a y e r

H.708 Collection: Chinese

Origin: China Medium: Painted Terracotta
Circa: 960 AD to 1279 AD Location: United States
Dimensions: 11.25" (28.6cm) high
 A r c h i t e c t u r a l Ti l e F e a t u r i n g a P o l o P l a y e r

H.711 Collection: Chinese

Origin: China Medium: Painted Terracotta
Circa: 960 AD to 1279 AD Location: United States
Dimensions: 11.5" (29.2cm) high
 A r c h i t e c t u r a l Ti l e F e a t u r i n g a P o l o P l a y e r

H.712 Collection: Chinese

Origin: China Medium: Painted Terracotta
Circa: 960 AD to 1279 AD Location: United States
Dimensions: 11.5" (29.2cm) high
The Song (also spelled Sung) Dynasty partially reunified the country after a period of
turmoil following the fall of the T’ang. Historically, the Song are noted for their revival
of the ancient Confucian beliefs, ushering a period known as Neo-Confucianism that
would dominate Chinese (and later on Japanese) thought for the next several centuries.
Although best known for their philosophical contributions, this decorative architectural
tile attests to the rich artistic tradition that flourished under the enlightened rulers of the
Song Dynasty. Presumably, such tile decorated the tombs of the royal elite and perhaps
once adorned their palace during their lifetime. The tile depicts a horse and rider
engaged in a polo match colorfully painted with an impressive amount of the original
pigment still intact. Polo was a popular aristocratic pastime associated with the royalty,
reinforcing the assumption that this tile once decorated a luxurious palace. No doubt,
this subject matter reflects the vital importance of the horse in the defense and
expansion of the empire as well as in economic matters. The strength and speed of the
horse would have aided communication between far away provinces that is an essential
factor of maintaining stability in a centralized government. Horses have been fabled
creatures throughout Chinese history. In fact, they were venerated as ancestors of the
mythological dragon. Horses were vital to defending the borders against barbarian
invaders from the north. The need to import stronger and swifter horses from Central
Asia (as opposed to the local Mongol Pony) was the primary factor in the
establishment of the Silk Road, the economic lifeline of the ancient world that united
the Chinese with Mediterranean cultures as early as the Han Dynasty. Clearly, horses
were honored throughout Chinese history, a fact most elegantly reflected in their tomb
sculptures. This fine painted panel is no exception. Expertly depicting the speed and
grace of this majestic creature, this panel is both a splendid work of decorative art as
well as a fitting memorial to the revered horse. - (H.707) - (H.710) - (H.709) - (H.708)
- (H.711) - (H.712)
 Yuan Dynasty
The Yuan Dynasty was established by Kublai Khan, the grandson of Genghis Khan,
upon relocating the capital of his empire from Mongolia to Beijing. The Forbidden
City was constructed, a relative oasis of Mongolian culture in the heart of China. While
the Mongol elite retained their native language and customs, they did adapt the Chinese
system of bureaucratic government and cemented the authoritarian rule of the emperor.
Although they were unaffected by Chinese culture, the Yuan did little to stifle the
native traditions and beliefs of their subjects. Buddhism continued to flourish, although
the monasteries received little funding from the state. In fact, during the Yuan Dynasty,
China first began to open up to foreigners. Christian and Hindu missionaries were
established in Beijing and Marco Polo made his famous journey during the Yuan era.
While the Chinese never accepted the Yuan as a legitimate dynasty, instead viewing
them as foreign bandits, the Mongolians rebelled against the Beijing Khans for
becoming, “too Chinese.” In the end, the Yuan Dynasty had the shortest duration of the
major Chinese Dynasties, lasting little more than a hundred years.
 Panel Depicting a Scene of Immortality

H.027 Collection: Chinese

Origin: China Medium: Stone
Circa: 1279 AD to 1368 AD Location: United States
The illustrative compositions of this panel are arranged in three successive stages. In
the lower stage, an oarsman steers a docking sailboat containing two passengers
dressed in scholarly attire engaged in conversation. The spatial and temporal distance
is collapsed, imbuing this pictorial scene with the quality of transcendence. The boat
quickly arrives at the dock that is represented by stairs leading to the arched entrance
of a walled community. Inside the community, which is depicted in the middle stage,
ornate pagoda-like structures and gardens rise above the walls that are being protected
by guards--one is captured in the position of drawing a bow and arrow. The face of a
bearded man wearing a scholar cap can be seen through the window of a tiered
structure. The upper stage of the panel appears to represent the heavenly realm of
immortality. An energetic man riding a horse swings his arms high in the air grasping
the reins of the horse in one hand and an emblem in the other. He is accompanied by
an attendant to the rear holding an umbrella and another walking ahead carrying an
offering. The panel is decorated with curled patterned borders representing foliage.
Throughout Chinese history, stone panels were created to commemorate the passing of
rites or events, often commissioned by wealthy families and patrons. Many of these
panels blended mythological Taoist ideas, Buddhist beliefs, and Confucian morality
with events of actual life. They provide rich historical data regarding the practice and
belief system of any given period in China. - (H.027)
 Yu a n S t o n e P a n e l

H.519 Catalogue: V17

Origin: China Collection: Chinese
Circa: 1271 AD to 1368 AD Medium: Stone
Dimensions: 23.5" (59.7cm) high Location: United States
This stone panel depicts a scene at the "Glorious Pavilion", the inscription located at
the center of the panel. A warrior, stylistically portrayed with an elongated neck,
angular face and stocky body, is walking as if he is patrolling the pavilion grounds. He
rests a sword-like weapon on a layered cape covering his shoulders, which touches the
tips of his intricately feathered headdress. Back leg cocked and front leg forward, he
seems to convey a sense of movement. His profile is dramatic, drawing attention to his
exquisite forehead and nose and long neck. Behind him stands a woman poised in royal
finery. Her exaggerated posture emphasizes her beautiful shape and the attractive shawl
tied around her hip. She wears a high mid-riff protective garment decorated with
various motifs and patterns, boots and a intricate headdress. A second layering of
clothing hangs outs of this outer layer as she grasps an two-pronged object in her hand.
The warrior and woman are separated by a pillar with a young deer licking its coat at
the base. The pillar supports the pavilion which looms above the heads of the two
figures. Four rotund foundations dangle in the empty space occupied by the figures,
seeming to delineate a spatial boundary between them and the pavilion. Luscious trees
in bloom arch over the roof as the stele pierces through the treetops maintaining the
symmetric balance of the structure. - (H.519)
 Yu a n Te r r a c o t t a R e l i e f P a n e l

H.552 Catalogue: V20

Origin: China Collection: Chinese
Circa: 1279 AD to 1368 AD Medium: Terracotta
Dimensions: 16" (40.6cm) high Location: UAE
The Yuan developed vigorous depictions of pacing and often winged felines, which
were placed in pairs to guard the sacred ways to the royal tombs--a widespread practice
during the preceding Sung dynasty as well.� In this relief, a lion is pictured
crouching over an embroidered ball clenching in its mouth a long twine that is tangled
beneath its feet.� The lion is not an indigenous animal to China, but it was
introduced later in connection with Buddhism, figuring as the defender of law and
protector of buildings.� It is an emblem of valor and energy that were considered
essential to the cultivation of wisdom.
The Chinese lion, despite its big eyes and fierce countenance, is not treated as the
supreme predatory animal--a position, rather, held by the tiger which flourishes in the
northern hinterland and evokes fear in the hearts and imagination of Chinese
people.� Instead, the lion is often represented as a mythical beast playing with a ball
or sacred gem amidst peony flowers and flexing its beautifully curled mane.� This
particular representation seems to blend mythical and playful characteristics, creating a
scene that is not only awe-inspiring but informative of the animal innocent yet
righteous nature. - (H.552)
 Ter ra c otta R elief S cu lp tu r e

PF.4360 Catalogue: V22

Origin: China Collection: Chinese
Circa: 1279 AD to 1368 AD Medium: Terracotta
Dimensions: 16.25" (41.3cm) high Location: UAE
This panel depicts the encounter between the tiger and dragon, two powerful animals
of Chinese cosmogony and legend. On the left side, the serpentine-bodied dragon
slithers down from heaven, keeping its hind legs attached to the clouds and propelling
itself on waves crashing against a rocky surface. This dragon is an amalgamation of
beastly qualities, possessing the horns of a deer, scales of a carp, claws of hawk, palm
of a tiger, torso of a snake and belly of a frog. The tiger rules in the terrain of dense
forests and steep mountains, emerging from its lair to confront this celestial force. Its
body is short and muscular, its forelegs and hind legs decorated in a spiral motif and
stripes depicted by neatly aligned horizontal markings. Its protruding eyes, rounded
face and stylistic nose give the tiger a human quality, as it growls in response to the
dragon's fierce roar.
The fifth animal of the Twelve Terrestrial Branches, the dragon is an mythological
creature that descends from heaven to lurk the waterways of the world, meting out the
good from the evil and exerting beneficial influence on mankind. The dragon
symbolizes vigilance, grandeur and worldly success as it is used as a motif in imperial
regalia and official decorum. There are many representations of the dragon, each
suggesting various meanings. The five-clawed dragon refers to the King, while the
transformation of the carp into a dragon is a metaphor of scholarly achievement.
The tiger, the third of the Twelve Terrestrial Branches, is supreme among animals of
the real world that roam the earth. It is taken as the emblem of magisterial dignity and
sternness, as the model for the courage and fierceness that should characterize a soldier,
and its presence or roar is synonymous with danger and terror. In this scene, the
dragon and tiger meet, symbolizing the confrontation between the two great forces of
the universe: heaven and earth. - (PF.4360)
 G i l t S t u c c o H e a d o f K u a n - Yi n

H.049 Collection: Chinese

Origin: China Medium: Gilt Stucco
Circa: 960 AD to 1644 AD Location: United States
Cast in exquisite detail, this sculpture of Kuan-Yin is applied with red and black
lacquer and gilt in the face and black and blue pigment in the headdress. Her oval face,
aquiline nose, pursed lips, and delicately shaped downcast eyes make up her
benevolent expression. A circular impression on her forehead represents the urna, a
Buddhist mark signifying spiritual enlightenment. Elongated earlobes, another
Buddhist mark, symbolized overabundant generosity. Bodhisattvas and Kuan-Yin
figures were often adorned with jeweled earrings and other dazzling adornments, as
may have once been the case with this figure. A distinctive feature of Kuan-Yin is her
elaborate headdress—in this piece depicted by a triangular-shaped tiara, centered on
the image of Amitaba Buddha holding a bowl amongst foliate sprigs. The tiara is
delicately constructed piece by piece, held together by wiring exposed in some areas.
The hair is combed and tied up in a knot encircled by the large crown.
The Kuan-Yin is part of the Buddhist constellation of Bodhisattvas, devotees who have
attained enlightenment but traverse the earth to promote the teachings of Buddha.
Through divine example of guidance, the Bodhisattvas communicate with the people,
helping them cope with the difficulties of life and attain some measure of spiritual
cultivation. Thus, they have become popular subjects for representation, sometimes
combining their attributes with characterizations of indigenous deities or religious
beliefs. Kuan-Yin has a strong feminine presence in Chinese art as she is also referred
to as the Goddess of Mercy, named after her attributes of compassion and pity. - (H.
049)
 Yu a n P a i n t e d Te r r a c o t t a H e a d o f a L o h a n

H.832 Collection: Chinese

Origin: China Medium: Painted Terracotta
Circa: 1264 AD to 1368 AD Location: United States
Dimensions: 10.5" (26.7cm) high
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 T’ang 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. The creases of this Lohan’s face are clearly defined,
revealing the years of his long life. A small mound rises from his wrinkled forehead,
called an ushnisa, which is a symbol of his universal wisdom. His head is painted
white, highlighted with pink for his lips and black for his pupils and eyebrows. - (H.
832)
 Stone Panel with Sanskrit Inscription

LA.515A Collection: Chinese Art

Origin: China Medium: Stone
Circa: 13 th Century AD to Location: Great Britain
14 th Century AD
Dimensions: 19" (48.3cm) high x 30" (76.2cm) wide
Buddhism in China experienced a revival during the Yuan period, reversing centuries
of decline and repression following the Great Persecution of 845 A.D. Unlike the
native Chinese rulers of the later Tang period who viewed Buddhism as a corrupting
foreign influence, the Yuan rulers, like most of their fellow Mongol Khanates, were
much more tolerant of religious diversity. Under the Yuan, Tibetan Buddhism was
declared an official religion of China and Tibetan lamas were invited to the royal
courts. Texts were translated and elements of Buddhism were fused with native Taoist
and Confucian traditions. However, this revival was short-lived, as once the Ming
Dynasty overthrew the Yuan, they expelled the lamas from the court and denounced
this form of Buddhism as unorthodox. - (LA.515A)
 Yu a n D y n a s t y S a n d s t o n e ' L o h a n ' h e a d

DL.992 Collection: Chinese

Origin: China Medium: Sandstone
Circa: 1260 AD to 1368 AD Condition: Extra Fine
Dimensions: 10.25" (26.0cm) high x Location: UAE
6" (15.2cm) wide
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. This superb example is distinctive for its long face and heavy eyebrows.
A small mound, called an ushnisa, rises from the forehead symbolizing the Lohan’s
universal wisdom. The sculpture is in excellent condition and a superb testament to the
piety of the Yuan era. (AM) - (DL.992)
Yu a n D y n a s t y S a n d s t o n e ' B o d h i s a t t v a ' H e a d

DL.993 Collection: Chinese

Origin: China Medium: Sandstone
Circa: 1260 AD to 1368 AD Condition: Extra Fine
Dimensions: 10" (25.4cm) high x Location: UAE
6.75" (17.1cm) wide
In the Buddhist religion bodhisattvas are souls who have attained enlightenment and no
longer need to reincarnate. Despite this freedom, they choose to forsake nirvana and
return to the earthly sphere in order to alleviate the suffering of others. This beautiful
Yuan Dynasty sandstone 'bodhisattva' head is from a temple in the 'Sichuan Province'.
It is likely that this fragment was once attached to a body, the whole of which probably
stood in a niche in the temple. The head is crowned in a magnificent, complex
headdress that reveals the figure’s prestigious social stature. The full face, half-open
eyes and gentle smile are endearing and remind us of the sacrifice this bodhisattva has
made to assist others. (AM) - (DL.993)
 Yu a n D y n a s t y S a n d s t o n e ' B u d d h a ' H e a d

DL.994 Collection: Chinese

Origin: China Medium: Sandstone
Circa: 1260 AD to 1368 AD Condition: Extra Fine
Dimensions: 7.50" (19.1cm) high x Location: UAE
6.10" (15.5cm) wide
The historical figure, Buddha Gautama Sakyamuni is the Buddha of compassion who,
having achieved the highest evolutionary perfection, turns suffering into happiness for
all living beings. Born around 560 B.C. somewhere between the hills of south Nepal
and the Rapti river, his father was a Raja who ruled over the northeastern province of
India, the district including the holy Ganges River. The young prince was married to
Yashoda when he was about 17 years old and together they had a son named Rahula.
At the age of 29, he left his life of luxury, feeling compelled to purify his body and
make it an instrument of the mind by ridding himself of earthly impulses and
temptations. Chinese Buddhist art is heavily influenced both by earlier Indian examples
and the stylistic tendencies of the Central Asian cultures who brought the religion into
China.
This exceptional sandstone head is from a temple in Sichuan Province. The Buddha has
a round, full face suggestive of his spiritual fulfillment. An inner calm and
complacency is visible on his face, in his closed eyelids and in his sweet smile. His
elongated right earlobe droops down, the sagging caused by wearing heavy earrings as
an infant, reflecting his royal origins. His left earlobe is concealed by the remains of a
hand placed against the side of the head. This fragment was most likely originally part
of a full-figure sculpture once revered inside a temple or shrine. The mystical energy
and divine wisdom of the Buddha radiates from within this sculpture. (AM) - (DL.994)
 Yu a n D y n a s t y S a n d s t o n e ' L o h a n ' H e a d

DL.996 Collection: Chinese

Origin: China Medium: Sandstone
Circa: 1260 AD to 1368 AD Condition: Extra Fine
Dimensions: 8.46" (21.5cm) high x Location: UAE
7" (17.8cm) wide
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. This superb example was discovered in a temple in the Sichuan
Province. Having achieved enlightenment, Lohans were free from all earthly desires
and no longer subject to the cycle of rebirth. The serenity and wisdom conveyed in this
sandstone example, with its heavy eyelids and expression of contentment, are thus
entirely appropriate to the subject matter. - (DL.996)
 Yu a n C i z h o u Wa r e Wi n e J a r

PF.5518 Collection: Chinese Art

Origin: China Style: Yuan Dynasty
Circa: 1350 AD to 1450 AD Medium: Terracotta
Dimensions: 26.25" (66.7cm) high Condition: Very Fine
Location: United States
The term, “Cizhou,” denotes a particular type of ceramics ware. Named after the
Cizhou province where examples were first unearthed, there have also been ruins of
related kilns discovered in the Hebei and Henan provinces. While Cizhou ware was
first created during the Five Dynasties, it only became popular during the Song and
Yuan Dynasties, after which point production ceased. Cizhou wares are celebrated for
their great variety of decorative motifs characterized by bold, expressive patterns with
painterly qualities that can almost be called calligraphic. The free, expressive nature of
Cizhou ware might be a reflection of the fact that they were created for the public and
not intended for court consumption where tastes tended to be more refined. While the
production of Cizhou ware was short-lived, its emphasis on decoration would affect the
course of future ceramic production in China.
Formed with a rolled rim to the cylindrical neck and an elongated ovoid body tapering
inward above the flat base, the tan fabric covered with a colorless glaze over white slip
painted in iron brown pigments with a wide feathery leaf band beneath narrower wavy
line, bands above and below inscriptions on the shoulder. - (PF.5518)
 Yu a n D y n a s t y S t u c c o B u d d h a H e a d

AM.0129 Collection: Chinese

Origin: China Medium: Stucco
Circa: 1260 AD to 1368 AD Location: Great Britain
Dimensions: 25" (63.5cm) high
The first evidence of the development of Buddhism in China dates to the early period
of the Han Dynasty in the 2nd Century BC. It was the trade conducted along the
myriad of caravan routes, usually referred to collectively as the ‘Silk Road’, that
helped to transmit this faith from India to China. Progress was gradual as Buddhism
had to contend with the indigenous belief systems, Daoism and Confucianism. By the
period of the Tang Dynasty (618-906 AD) however it was firmly established and
Chinese artists had developed a sophisticated range of styles and forms to deal with the
demand for images.
This large stucco Buddha head was produced during the Yuan Dynasty, probably dating
to the fourteenth century. It is exceptional for its size and polychromy. The face and
elongated ears (a reference to the heavy jewellery that the Buddha used to wear before
enlightenment) have been gilded in gold. The red undercoat that was placed beneath
the gilding to add to the warmth to the gold is now visible in many places. Although
unintentional, the effect is dramatic especially given the contrast with the blue pointed
curls that adorn the head. The conventional protuberance, or ushnisha, is clearly visible
at the top. The pupils of the downcast eyes are inlaid with a black stone and there are
traces of black paint on the eyebrows and moustache. The head is in excellent
condition with only minor repairs to some of the pointed curls on the reverse. It would
make a striking and colourful addition to any collection. - (AM.0129)
B ud d h i st R eliq u ary w ith Sanskrit In sc r iptions

SF.226 Collection: Chinese Art

Origin: China Medium: Terracotta
Circa: 1200 AD to 1400 AD Location: Great Britain
Dimensions: 9" (22.9cm) high
 Stone Panel with Sanskrit Inscription

LA.515B Collection: Chinese Art

Origin: China Medium: Stone
Circa: 13 th Century AD to Location: Great Britain
14 th Century AD
Dimensions: 19.2" (48.8cm) high x 30.5" (77.5cm) wide
 Stone Panel with Sanskrit Inscription

LA.515C Collection: Chinese Art

Origin: China Medium: Stone
Circa: 13 th Century AD to Location: Great Britain
14 th Century AD
Dimensions: 23.75" (60.3cm) high x 17" (43.2cm) wide
 Stone Panel with Sanskrit Inscription

LA.515E Collection: Chinese Art

Origin: China Medium: Stone
Circa: 13 th Century AD to Location: Great Britain
14 th Century AD
Dimensions: 23" (58.4cm) high x 18.2" (46.2cm) wide
Buddhism in China experienced a revival during the Yuan period, reversing centuries
of decline and repression following the Great Persecution of 845 A.D. Unlike the
native Chinese rulers of the later Tang period who viewed Buddhism as a corrupting
foreign influence, the Yuan rulers, like most of their fellow Mongol Khanates, were
much more tolerant of religious diversity. Under the Yuan, Tibetan Buddhism was
declared an official religion of China and Tibetan lamas were invited to the royal
courts. Texts were translated and elements of Buddhism were fused with native Taoist
and Confucian traditions. However, this revival was short-lived, as once the Ming
Dynasty overthrew the Yuan, they expelled the lamas from the court and denounced
this form of Buddhism as unorthodox. - (SF.226) - (LA.515B) - (LA.515C) - (LA.
515E)
 Stone Panel with Sanskrit Inscription

LA.515D Collection: Chinese Art

Origin: China Style: Yuan Dynasty
Circa: 13 th Century AD to Medium: Stone
14 th Century AD Location: Great Britain
Dimensions: 23.5" (59.7cm) high x
19.5" (49.5cm) wide
 THE BAKARAT GALLERY

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