馆藏中国：澳洲新南威尔士美术馆藏中国造像
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馆藏中国是“南山供秀”平台根据平时收集的各博物馆官网资料而整理的专题内容，主要以分享为主，对内容新老不做辨伪。
本期分享新南威尔士州美术馆（Art Gallery of New South Wales）收藏的部分造像。新南威尔士州美术馆位于首府悉尼（Sydney）市中心，环形码头附近，毗邻悉尼歌剧院与悉尼皇家植物园（Royal Botanic Gardens），距离悉尼歌剧院或悉尼塔步行15分钟的路程。建于1874年的新南威尔士州美术馆是澳大利亚三大美术馆之一，陈列着澳洲境内最优秀的艺术作品，馆内的展品以澳大利亚各历史时期的美术作品，也有印象派大师和部分亚洲大师的美术作品。馆藏艺术品约30000件，其中收藏的中国艺术品包括国画、书法、陶瓷、佛雕等共2000多件。中国唐代的的兵马俑、汉代的瓷塔、佛像等珍贵文物表现出中国的灿烂文化渊源。以下信息介绍来源于博物馆官网，部分信息有误，因本篇内容只做收集分享，所以对真伪不做讨论。故下列藏品信息及断代不代表本平台观点。https://www.artgallery.nsw.gov.au/collection/works/2.2001/This stele is in an arched form with the Buddha seated upon a rectangular platform in the meditation posture. A pair of guardian lions stand on either side. The Buddha wears a garment, and its pleats are sharply defined with incised curved lines. A small halo of radiating petals behind the Buddha's head is encircled by a large halo enclosing six seated Buddhas backed by a flame nimbus. There are another two pairs of standing and seated Buddhas and Bodisattavas filling the spaces at the right and left. The top outer edge of the leaf-shaped slab is decorated with flame motifs rising to a pointed top. Below is a squatting dwarf who seems to be supporting the platform above his head with both hands. The figure is flanked by two small standing figures of donors on both sides. The inscription carved on the right reads: "for the deceased parents, Ren Zhenxing, whole-heartedly (in devotion of the Buddha)." The one on the left reads, "... Ren A'dao is in attendance of the Buddha ... (Characters illegible) ... respectfully ...". It is worthy of notice that the donors dress is in great contrast to that of others of later date. They wear a tight-sleeved short overcoat with trousers beneath which appears rather akin to the traditional dress of the Wei Tartars, the so-called 'Kuzhe'. It is known that, towards the end of the fifth century and the beginning of the sixth century, the early garments of the Buddhist figures introduced from India were gradually changed to become more like the costumes of the Chinese scholar-official. It is usually believed that this mode was adopted for images of the Buddhist sculptures coincident with an imperial decree of 486 which required that court officers wear the Chinese scholar-official robes.
The stele is a typical example of the early Northern Wei craftsmanship. The most notable feature of this stele is the multiple parallel lines defining the pleats of the figures' garments. The U-shaped folds over the Buddha's torso are arranged in a close series of concentric, round ridges. All these are the common features of the Buddhist sculptures in both bronze and stone made during the 5th century and which demonstrate the lingering influence of the Ghandhara style. The stele is a rare and good early example which reflects the early and provincial form of Budddhist sculpture in China.
Compare the work with a Maitreya stele dated to 472 in Chen Zhejin's collection, and a Buddha stele dated to 496 in the Shaanxi Provincial Museum Collection (both published in 'The Dated Chinese Buddhist sculptures' ed. by Jin Shen, Beijing: Wenwu Press, 1992, pls. 25 and 89). See also a number of bronze and gilt bronze images, many of which are dated to the 480's, 490's and the first years of the 6th century.
Asian Art Department, AGNSW February 2001
Chinese Buddhist stele
Northern Wei 386 - 535 → Northern dynasties 420 - 589 → ChinaEdward and Goldie Sternberg Chinese Art Purchase Fund 2001The connoisseur and the philanthropist: 30 years of the Sternberg Collection of Chinese Art, Art Gallery of New South Wales, Sydney, 31 Jan 2014–27 Apr 2014Jackie Menzies (Editor), The Asian Collections Art Gallery of New South Wales, China 'Buddhist Art', Sydney, 2003, 91 (colour illus.). https://www.artgallery.nsw.gov.au/collection/works/314.2006/The leaf shaped stele is carved on the front with Buddha seated with hands in 'abhaya' and 'varada mudra'. The figure is dressed in a voluminous robe falling in thick folds over the shoulder and arms and cascading down the base in undulating pleats - a characteristic feature of Chinese Buddhist sculpture of the Northern Wei period. The figure's full face, with a smiling contemplative expression, however suggests a later date, circa late Northern Wei or early Eastern Wei period. The Buddha is flanked by a pair of Bodhisattvas, each wears loose robes, a crown, and holds a lotus to the chest.The group is backed by a 'mandorla' composed of incised parallel lines with a halo of overlapping petals enclosed by concentric circles behind the head. The reverse of the stele is incised with a similar group of a central seated figure of Buddha, flanked by a pair of Bodhisattvas, each on a lotus pedestal, bearing a lotus, in a setting of trees and mountains. The surface of the stone is smooth with traces of red and black pigments. The other two sides of the stele are incised with names and titles of donors, including two monks, two nuns and two laymen on the left, and two lay disciples on the right.In China, it was during the Northern Wei period that Buddhist stele emerged as an important sculptural medium, being linked to the 'devotees' future life through personal devotion or accumulation of merits. This stele is a very fine example of the activity. Beside its excellent figurative configuration and carving, the inscription, though lacking a precise date, provides much information on its past function and significance. It would appear that in this case, the stele was raised by donors of a collective group, including Buddhist monks, nuns and lay disciples from a Buddhist devotional 'yi' society. The fine carving on the reverse suggests that the stele was once placed on main roads and other public places, or in a free-standing situation within a cave or temple, serving the purposes of adoration.Asian Art Department, AGNSW, 2006.
Stele of a Buddha flanked by two bodhisattvas
Northern Wei 386 - 535 → Northern dynasties 420 - 589 → ChinaPurchased with funds provided by the Art Gallery of New South Wales Foundation, the Mary Eugene Tancred Bequest Fund, Jim & Janette Bain, Nick Curtis, Rowena Danziger AM & Ken Coles AM, Chum & Belinda Darvall and Isaac & Susan Wakil 2006Ancient Chinese Bronzes and Sculpture, New York, Eskenazi Ltd Oriental Art, London, Mar 2005 -One hundred flowers (2011), Art Gallery of New South Wales, Sydney, 01 Sep 2011–15 Jan 2012Conversations through the Asian collections, Art Gallery of New South Wales, Sydney, 25 Oct 2014–13 Mar 2016Art Gallery of New South Wales, Art Gallery of New South Wales annual report 2007, Sydney, 2007, 24 (colour illus.).Edmund Capon, Look, 'A stele from China', pg. 13, Sydney, Apr 2007, 13 (colour illus.).Saburo MATSUBARA, A History of Chinese Buddhist Sculpture, 1995, illus.. plate 197bEskenazi (Editor), Ancient Chinese Bronzes and Sculpture, New York, Mar 2005, illus.. no. 11London Gallery (Compilator), Chinese Stone and Gilt Bronze Sculpture, Tokyo, 1988, illus.. no. 4 https://www.artgallery.nsw.gov.au/collection/works/202.1995/The front side of this stele is carved with a principal image of Shakyamuni Buddha seated in a niche, while the reverse features a principal image of the Future Buddha, Maitreya, sitting cross-legged. The Shakyamuni Buddha sits beneath a flame-ornamented canopy and is flanked by a pair of Bodhisattvas: those most human of beings in the vast pantheon of Buddhist deities who, having achieved Buddhahood, elect to remain on earth out of compassion. The figure of Maitreya sits beneath an ornately decorated canopy and is also flanked by a pair of small Bodhisattva images. Above both the principal images the stele is carved with miniature Buddhas. A dedicatory inscription on the upper right bears the now partially damaged reign date, which reads: 'chang yuan nian...'. The absence of the first character precludes a precise date, but indicates either 512, 525 or 532. Further inscriptions on all sides of the stele give the names of donors who contributed to its construction as an act of Buddhist devotion.Art Gallery Handbook, 1999. pg.249.
Stele of Shakyamuni, the historical Buddha, and Maitreya the Buddha of the future
Northern Wei 386 - 535 → Northern dynasties 420 - 589 → ChinaPurchased with assistance from the Art Gallery Society of New South Wales and the Edward and Goldie Sternberg Chinese Art Purchase Fund 1995Buddha: Radiant awakening, Art Gallery of New South Wales, Sydney, 10 Nov 2001–24 Feb 2002The connoisseur and the philanthropist: 30 years of the Sternberg Collection of Chinese Art, Art Gallery of New South Wales, Sydney, 31 Jan 2014–27 Apr 2014Conversations through the Asian collections, Art Gallery of New South Wales, Sydney, 25 Oct 2014–13 Mar 2016Yin Cao, The Connoisseur and the Philanthropist: 30 years of the Sternberg Collection, 'Chinese Art', pg. 12-23, Sydney, 31 Jan 2014, 17 (colour illus.).Edmund Capon, The Connoisseur and the Philanthropist: 30 years of the Sternberg Collection, 'The connoisseur and the philanthropist: the creation of a collection', pg. 5-10, Sydney, 31 Jan 2014, 9 (colour illus.).Edmund Capon, Look, 'The Arts of Asia', pg. 24, Heidelberg, Apr 1997, 24 (colour illus.).Joanna Capon, Art and Australia (Vol. 41, No. 4), 'Goldie Sternberg. Benefactor', pg. 618-620, Sydney, Jun 2004-Aug 2004, 618, 619 (colour illus.), 620.Bruce James, Art Gallery of New South Wales handbook, 'Asian Collection: East Asia', pg. 246-287, Sydney, 1999, 248 (colour illus.).Jackie Menzies, Look: 1953-2003 celebrating 50 years, 'Asian Treasures', pg. 57-59, Sydney, May 2003, 58 (colour illus.).Jackie Menzies, TAASA Review, "Art Gallery of New South Wales", Sydney, Mar 1998, 9 (illus.).LIU Yang, Orientations, 'The Discovery of Mass: A Footnote to the Stylistic and Iconographic Innovation in Chinese Buddhist Sculpture', pg. 88-95, Hong Kong, Sep 2000, 88 (colour illus.), 89 (colour illus.). fig.1, 1a (reverse), 1b (right side)Jackie Menzies (Editor), The Asian Collections Art Gallery of New South Wales, China 'Buddhist Art', Sydney, 2003, 92 (colour illus.), 92 (colour illus., reverse).Early Chinese art from tombs and temples, London, Jun 1993.Jackie Menzies (Editor), Buddha: Radiant awakening, Sydney, 2001, 162 (colour illus.), 188. cat.no. 119Jonathan Cooper (Editor), The Art Gallery of New South Wales Bulletin, 'Exhibitions', pg. 10-17, Sydney, Apr 1995-May 1995, 14 (colour illus.). https://www.artgallery.nsw.gov.au/collection/works/128.1988/‘With his right hand raised in the ‘abhaya mudra’ and the left in the ‘varada mudra’, Shakyamuni Buddha stands flanked by the two bodhisattvas, probably Avalokiteshvara and Mahasthamaprapta. Carved in high relief on the halo are celestial musicians and a pair of ‘apsaras’ (celestial beings) that support an image of the seated Buddha, possibly Prabhutaratna, the Buddha of the past, who vowed to be present whenever the Lotus Sutra was invoked. The stele is carved from an exceptionally fine-grained limestone similar to that used in a large group of recently discovered 6th-century Buddhist sculptures from the Qingzhou region of Shangdong province. The quality of the stone allowed for a high degree of refinement and meticulous detail in the carving, making this an especially fine and beautiful example of early Chinese Buddhist art.’
‘The Asian Collections: Art Gallery of New South Wales’. pg.92
© 2003 Trustees, Art Gallery of New South Wales
Votive stele of Shakyamuni Buddha flanked by two bodhisattvas
Eastern Wei 534 - 550 → Northern dynasties 420 - 589 → ChinaBuddhist Art from the Collection of the Art Gallery of New South Wales, Art Gallery of New South Wales, Sydney, 06 May 1995–10 Sep 1995Buddha: Radiant awakening, Art Gallery of New South Wales, Sydney, 10 Nov 2001–24 Feb 2002Conversations through the Asian collections, Art Gallery of New South Wales, Sydney, 25 Oct 2014–13 Mar 2016Edmund Capon, Look, 'Standing Buddha', pg. 9, Heidelberg, Oct 1998, 9 (colour illus.).Steve Meacham, The Sydney Morning Herald, 'Object of desire', pg. 24, Sydney, 08 Jan 2007, 24 (colour illus.).Jackie Menzies, Asian Collection Handbook, Art Gallery of New South Wales, 'Introduction', pg. 9-17, Sydney, 1990, 12 (colour illus.).Jackie Menzies, AGNSW Collections, 'Asian Art - India, South-East Asia, China, Tibet, Korea, Japan', pg. 173-228, Sydney, 1994, 191 (colour illus.).LIU Yang, Orientations, 'The Discovery of Mass: A Footnote to the Stylistic and Iconographic Innovation in Chinese Buddhist Sculpture', pg. 88-95, Hong Kong, Sep 2000, 89 (colour illus.). fig.2Jackie Menzies (Editor), Buddha: Radiant awakening, Sydney, 2001, 159 (colour illus.), 188. cat.no. 117Jackie Menzies (Editor), The Asian Collections Art Gallery of New South Wales, China 'Buddhist Art', Sydney, 2003, 92, 93 (colour illus.). https://www.artgallery.nsw.gov.au/collection/works/432.1997/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.
Standing Buddha
Place where the work was made：Dingzhou ? → Hebei Province → ChinaSui dynasty 581 - 618 → ChinaArt Gallery of New South Wales Foundation Purchase 1997Buddha: Radiant awakening, Art Gallery of New South Wales, Sydney, 10 Nov 2001–24 Feb 2002Conversations through the Asian collections, Art Gallery of New South Wales, Sydney, 25 Oct 2014–13 Mar 2016Art Gallery of New South Wales, Art Gallery of New South Wales Annual Report 2004, Sydney, 2004, 31 (colour illus.).Edmund Capon AM, OBE, Art Gallery of New South Wales: highlights from the collection, Sydney, 2008, 164 (colour illus.), 165 (colour illus.). The colour illus. on page 165 is a detail of this work.Edmund Capon AM, OBE, Art Gallery of New South Wales Foundation Annual Report 1998, Sydney, 1998, cover (colour illus.).Guiseppe Eskenazi, Chinese Buddhist sculpture, London, Jun 1997, 26 (colour illus.), 27 (colour illus.). The colour illus. on page 26 is the back of this work. The entry is both in English and Chinese.Bruce James, Art Gallery of New South Wales handbook, 'Asian Collection: East Asia', pg. 246-287, Sydney, 1999, 249 (colour illus.).Jackie Menzies (Editor), Buddha: Radiant awakening, Sydney, 2001, 102 (colour illus.), 186. cat.no 75Jackie Menzies, Look, 'Buddha lands', pg. 20-23, Melbourne, Oct 2001, 22 (colour illus.).Jackie Menzies (Editor), The Asian Collections Art Gallery of New South Wales, China 'Buddhist Art', Sydney, 2003, 94-95 (colour illus.). The colour illus. on page 95 is a detail of this work.Jill Sykes, Look, 'New Era for Gallery's Asian Art', pg. 22-23, Sydney, Sep 2003, 22 (colour illus.).Michael Wardell, Look, 'Foundation building', pg.14-17, Sydney, Sep 2004, 15.LIU Yang, Orientations, 'The Discovery of Mass: A Footnote to the Stylistic and Iconographic Innovation in Chinese Buddhist Sculpture', pg. 88-95, Hong Kong, Sep 2000, 90 (colour illus.), 91 (colour illus.). fig.3 and 3a (reverse) https://www.artgallery.nsw.gov.au/collection/works/241.1982/A Bodhisattva is one who has achieved enlightenment but who chooses to stay on this earth to bring salvation to suffering mankind. Bodhisattvas, usually bejewelled, are seen alone, or flanking a Buddha figure.This figure stands in the classic 'tribhanga' (triple bend) pose, the upper front part of his body naked except for the scarf and jewels around his neck, the lower half covered by a dhoti that clings to the thighs in concentric ridges. The right hand holds part of his scarf while the left, raised, is broken at the wrist. Like many of these figures, this one has not survived intact, and his head and feet are also missing. A distinctive feature of this Bodhisattva is the carved curls of hair on the shoulders. While the naturalism of this figure is derived from Indian influences, never in Chinese sculpture does one see anything of the unbridled sensuality typical of much Indian sculpture. With both the Buddhist writings and images, the Chinese interpreted them in their own cultural terms. (When Buddhism first came to China and was being translated into terms the Chinese could understand, the key Daoist term 'dao', "the Way", was sometimes used to render the Buddhist term 'dharma', "the teaching" [A. F. Wright, 'Buddhism in Chinese History', Stanford University Press, 1959. p36]).
For the first 200 years of the Tang dynasty Buddhism flourished as never before. It was imperial policy to patronize Buddhist establishments and clergy and to build and support temples in the capital and provinces. Buddhist temples and monasteries were tax-exempt and soon acquired great wealth. Buddhist ritual was an integral part of state and imperial observances. Most of the larger pieces that survive from this period are in stone or clay, wood having been destroyed in time and bronze figures melted down. The rebellion of An Lushan from 755-763 weakened the Tang Empire. The suppression of Buddhism between 842 and 845 brought empire-wide destruction of temples, and icons. This destruction, together with the increasing influence of the Chan (Zen) sect which paid little attention to statuary, and the revival of Confucianism, marked the end of Buddhism's influence among the literate.
Jackie Menzies, 'Early Chinese Art', AGNSW, 1983. cat. no. XXVII.
Bodhisattva
Tang dynasty 618 - 907 → ChinaPurchased with the assistance of the Sydney Cooper Bequest Fund and Rene Rivkin 1982Ancient Chinese Sculpture, Eskenazi, London, 11 Dec 1981–24 Dec 1981Early Chinese art, Art Gallery of New South Wales, Sydney, 26 Feb 1983–08 May 1983Buddhist Art from the Collection of the Art Gallery of New South Wales, Art Gallery of New South Wales, Sydney, 06 May 1995–10 Sep 1995Jackie Menzies, Early Chinese Art, Sydney, 1983, (illus.) not paginated. cat.no. XXVII. See 'Further Information' for text.Jackie Menzies (Editor), The Asian Collections Art Gallery of New South Wales, China 'Buddhist Art', Sydney, 2003, 94 (colour illus.).LIU Yang, Orientations, 'The Discovery of Mass: A Footnote to the Stylistic and Iconographic Innovation in Chinese Buddhist Sculpture', pg. 88-95, Hong Kong, Sep 2000, 93 (colour illus.). fig.4 https://www.artgallery.nsw.gov.au/collection/works/291.2007/Bodhisattva
Tang dynasty 618 - 907 → ChinaBequest of Freddie Storch 2007https://www.artgallery.nsw.gov.au/collection/works/104.2002/The Bodhisattva in gilt bronze is seated in the position of royal ease, with the left leg pendant and foot resting on a spiky double-petalled lotus; while his right foot is placed on a textured mat. The right arm of the figure rests on the right knee, and the slender fingers of the left hand are placed lightly on the trailing scarf; each wrist is enriched by a bracelet. The Bodhisattva's plump oval face is sweetly expressive with the small mouth set in a faint smile. The arched eyebrows, which lead to the narrow bridge of the aquiline nose, frame the downcast, heavy-lidded eyes. The neatly coiffed hair is secured above the forehead with a diadem and parts at the back into two tresses, each falling in three curling strands down the shoulder. The Bodhisattva wears an elaborate necklace descending in two double loops down the bare torso while bud-shaped tassels emerge from a central rosette. The underskirt is finely incised with a border of floral scrolls and falls in folds down the lower leg. A knee-length overskirt, edged with a narrow band of flower-heads, is pulled up high on the small of the back, and falls open at the front; and another short garment is folded over the studded belt falling in folds between the legs. The shoulders are draped with a wide shawl, which is threaded through the arms and curves to the feet where it terminates in flame-like points. The gilding has an attractive reddish-gold tone with extensive traces of red pigment.
Gilt bronze Bodhisattvas in this position of "royal ease" (presumably originally resting on a rockwork base in gilt bronze, or in another material) are generally referred to as the "Water and moon" Guanyin, or the "Southern Sea" Guanyin, seated as if on the rocky shore of Mount Potalaka. It appears that the image of the Water and Moon Guanyin is mentioned in painting records dating to the 8th-9th centuries, and it is possible that such paintings, which no longer survive, served as prototypes for sculptors. The earliest extant painting examples appear to be 10th century banners from Dunhuang. According to some scholars, the use of the "moon in water" metaphor for the transitory and unsubstantial nature of the world was common in Buddhist scriptures but there is no scriptural basis for linking Guanyin with these metaphors ('Latter Days of Law: Images of Chinese Buddhism' 850-1850, ed., by Marsha Weidner, Kansas, 1994, pg. 156-60). These transformations appear to have been a result of artistic innovation, or, more likely, based on sources outside Buddhism, whether from within or outside the Chinese tradition (cf. Derek Gillman, 'A New Image in Chinese Buddhist Sculpture of the 10th to 13th century', transactions of the Oriental Ceramic Society, London, 1982-83, pg. 33-44).
Asian Art Dept., AGNSW, April 2002
Guanyin, bodhisattva of compassion
Yuan dynasty 1279 - 1368 → China28.0 x 17.5 x 11.0 cm; 32.3 x 17.8 x 12.5 cm object with standEdward and Goldie Sternberg Chinese Art Purchase Fund 2002Chinese Buddhist sculpture from Northern Wei to Ming, Pacewildenstein, New York, 18 Mar 2002–30 Mar 2002The connoisseur and the philanthropist: 30 years of the Sternberg Collection of Chinese Art, Art Gallery of New South Wales, Sydney, 31 Jan 2014–27 Apr 2014Conversations through the Asian collections, Art Gallery of New South Wales, Sydney, 25 Oct 2014–13 Mar 2016Art Gallery of New South Wales, Art Gallery of New South Wales Annual Report 2002, 'Year in review', pg. 8-25, Sydney, 2002, 9, 17 (colour illus.).Yin Cao, The Connoisseur and the Philanthropist: 30 years of the Sternberg Collection, 'Chinese Art', pg.12-23, Sydney, 31 Jan 2014, 19, 30 (colour illus.). The colour illus. on page 30 is a rear view of the objectEdmund Capon AM, OBE, Art Gallery of New South Wales: highlights from the collection, Sydney, 2008, 169 (colour illus.).Joanna Capon, Art and Australia (Vol. 41, No. 4), 'Goldie Sternberg. Benefactor', pg. 618-620, Sydney, Jun 2004-Aug 2004, 618, 619 (colour illus.), 620.Holland Cotter, The New York Times, 'Asia week, a vast concept embraced this year by Buddha', pg. E34., New York, 22 Mar 2002, E31 (colour illus.), E34. This article appears in the 'Weekend, Fine Arts Leisure' section.Guiseppe Eskenazi and Edmund Capon AM, OBE, Chinese Buddhist sculpture from Northern Wei to Ming, London, 2002, 48, 49 (colour illus.), 50 (colour illus.), 51 (colour illus.). cat.no. 14 The two images appearing on page 51 are in detail.Ann Macarthur, Look, 'Focus on faith', pg. 41, Sydney, Dec 2004-Jan 2005, 41 (colour illus.).Jackie Menzies (Editor), The Asian Collections Art Gallery of New South Wales, China 'Buddhist Art', Sydney, 2003, 96, 97 (colour illus.).Jackie Menzies, Look, 'Asian Favourites', pg. 24-27, Sydney, Apr 2003, 26 (colour illus.). https://www.artgallery.nsw.gov.au/collection/works/273.2006/Guanyin
Gift of Dr John Yu and Dr George Soutter 2006https://www.artgallery.nsw.gov.au/collection/works/479.1996/
The Buddha sits with his left hand in his lap and his right hand in the earth-touching gesture (bhumisparsha mudra). Around the base of the sculpture are brief inscriptions in Sanskrit, Mongolian and Tibetan and, in Chinese, the reign mark of the Qianlong emperor. Akshobya, one of the future Buddhas, and Shakyamuni the historical Buddha are the only Buddhas depicted in this pose.
Seated Buddha calling the Earth to witness (bhumisparsha mudra)
Qianlong 1736 - 1795 → Qing dynasty 1644 - 1911 → ChinaSmile of the Buddha: Image of Enlightenment, Drill Hall Gallery, Australian National University, Canberra, 02 Nov 2007–17 Dec 2007Conversations through the Asian collections, Art Gallery of New South Wales, Sydney, 25 Oct 2014–13 Mar 2016Jackie Menzies (Editor), The Asian Collections Art Gallery of New South Wales, China 'Buddhist Art', Sydney, 2003, 98 (colour illus.). https://www.artgallery.nsw.gov.au/collection/works/566.1996/In the Buddhist art of China and North Asia, Maitreya is represented as both a Buddha and a Bodhisattva. The Historical Buddha, Shakyamuni, is said to have visited Maitreya in the Tushita heaven when he appointed him to be his successor. For this reason Maitreya is also known as the 'Future Buddha'. In later times and in yet another form, Maitreya became one of the most popular of Buddhist images as Budai, the manifestation of the Future Buddha: always represented as a fat jolly fellow commonly referred to as the 'laughing Buddha'. Here Maitreya is represented as a Bodhisattva, identified by the hands held in the dharmachakra (teaching or turning the wheel of the law) 'mudra', with the legs pendant: the only deity in the vast pantheon of Buddhist gods to be shown seated in the European manner. Also visible are the now broken stems of the lotus flower traditionally held by Maitreya. The ornate 'dhoti' tied at the waist and elaborate necklaces, headdress and jewellery are all characteristic of Bodhisattva images of this time, when the influence of the Tibetan style was being felt.
Art Gallery Handbook, 1999. pg.251.
Maitreya, Buddha of the future
Yuan dynasty 1279 - 1368 → Chinahttps://www.artgallery.nsw.gov.au/collection/works/1309/
This commanding gilt bronze figure is Wei To, a military Bodhisattva who protects the Buddhist religion and whose image is usually placed in the first hall of a Buddhist monastery. Dressed as a Chinese warrior in the elaborate armour worn by military heroes, and originally holding a sceptre-shaped assault weapon (now missing), this figure reportedly came from the Palace of Ten Thousand Years outside Beijing. The lion's headcap emphasises the uncontrollable ferocity of Wei To. The lion is not native to China, but appears in Buddhism as the defender of law and protector of sacred buildings. The Tang dynasty (618-906) is usually credited as the golden age of Chinese Buddhist sculpture because of the decline of Buddhism after the great persecution of 845 and the accompanying destruction of many images. However, Buddhist figures continued to be made, and Ming figures are distinguished by the technical skill of their casting in which every detail is sharp and vigorous.
'Asian Art', AGNSW Collections, 1994, pg. 204.
Guardian figure
Ming dynasty 1368 - 1644 → ChinaGift of Captain Francis Hixson 1905Jackie Menzies, AGNSW Collections, 'Asian Art - India, South-East Asia, China, Tibet, Korea, Japan', pg. 173-228, Sydney, 1994, 204 (colour illus.).Jill Sykes, Look, 'Setting music in context', pg. 16-17, Sydney, Feb 2006, 16 (colour illus.).W.G.P.Liu, Art Gallery of New South Wales Quarterly, 'A Chinese temple guardian', pg. 7-8, Sydney, Oct 1959, 7, 8 (illus.).LIU Yang, Orientations, 'The Discovery of Mass: A Footnote to the Stylistic and Iconographic Innovation in Chinese Buddhist Sculpture', pg. 88-95, Hong Kong, Sep 2000, 95 (colour illus.). fig.7Art Gallery of New South Wales, Art Gallery of New South Wales picturebook, Sydney, 1972, 137 (colour illus.).Jackie Menzies (Editor), The Asian Collections Art Gallery of New South Wales, China 'Buddhist Art', Sydney, 2003, 99 (colour illus.). https://www.artgallery.nsw.gov.au/collection/works/138.1982/Guanyin (Avalokitesvara) is a compassionate Buddhist saviour. Initially a male divinity, over time across East Asia Guanyin has often been presented in female form. Rather than pursuing Buddhahood, the merciful bodhisattva vowed to remain on earth until every sentient being achieves enlightenment and rebirth in the Buddhist paradise. Traces of colour remain on this wooden sculpture which was originally covered with white gesso and paint.
Guanyin, bodhisattva of compassion
Song dynasty 960 - 1279 → China12th century-13th centuryBequest of Sydney Cooper 1982Buddhist Art from the Collection of the Art Gallery of New South Wales, Art Gallery of New South Wales, Sydney, 06 May 1995–10 Sep 1995Edmund Capon AM, OBE and Jan Meek (Editors), Portrait of a Gallery, 'Asian Art', pg. 106-113, Sydney, 1984, 109 (colour illus.).Jackie Menzies, Asian Collection Handbook, Art Gallery of New South Wales, 'Introduction', pg. 9-17, Sydney, 1990, 12, 13 (colour illus.).Jackie Menzies (Editor), The Asian Collections Art Gallery of New South Wales, Sydney, 2003, 10 (colour illus.).John Saxby, Look, 'Lindy Lee. The art that made me.' inteview, pg. 12-13, Sydney, Aug 2015, 12 (colour illus.).LIU Yang, Orientations, 'The Discovery of Mass: A Footnote to the Stylistic and Iconographic Innovation in Chinese Buddhist Sculpture', pg. 88-95, Hong Kong, Sep 2000, 94 (colour illus.). fig.5 https://www.artgallery.nsw.gov.au/collection/works/EV1.1959/Seated figure of Guanyin
Ming dynasty 1368 - 1644 → Chinahttps://www.artgallery.nsw.gov.au/collection/works/267.1975/Buddhism reached China about the first century BCE from India where it had developed during the fourth and third centuries BCE. The Chinese received the teachings of the two main schools of Buddhism, Mahayana and Hinayana, although eventually it was Mahayana that dominated the Far East while Hinayana became the stronger influence through Southeast Asia. Buddhism spread slowly through China, along the main routes of internal trade and communication. Buddhism had to be "translated" into terms the Chinese could understand because of the huge cultural gulf between the Indian religion and Chinese thinking. It was not until the end of the Han dynasty (206BCE - 220CE) that Buddhism began to gain influence. During the period after Han when China was divided into North and South, Buddhism strengthened albeit differently as it adapted itself to the two different evolving cultures of north and south. In the north it commended itself to the foreign conquerors because it was an alien, non-Chinese religion; in the south it adjusted to both elite and popular needs. When China again became unified under the Sui (581-618) and Tang (618-906) dynasties, Buddhism was seen as an instrument for unifying north and south and was widely supported by the authorities.
This is an ornamental wall-tile from Gansu Province with moulded relief decoration. A smaller but comparable piece in the Malcolm MacDonald collection is covered with white slip with traces of unfired black and green pigments, indicating that this piece may have been painted also. The figure on the brick is a Buddha as evident by his aureole, the ushnisha and his seated position with hand extended. The Buddha sits within his own ornately decorated niche. The tile no doubt was part of a whole wall comparable in design to known cave paintings of the period.Jackie Menzies, 'Early Chinese Art', AGNSW, 1983. cat. no. XXVI.
Brick decorated with seated Buddha
Tang dynasty 618 - 907 → ChinaBequest of Eleanor Hinder through her executors 1975Early Chinese art, Art Gallery of New South Wales, Sydney, 26 Feb 1983–08 May 1983Buddhist Art from the Collection of the Art Gallery of New South Wales, Art Gallery of New South Wales, Sydney, 06 May 1995–10 Sep 1995Jackie Menzies, Early Chinese Art, Sydney, 1983, not paginated. cat.no. XXVI. See 'Further Information' for text.
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