Portrait-like depictions of groups of sixteen, eighteen, five hundred or more luohan were widely made during the Song period. The term luohan, or arhat, is used to designate the original disciples of Sakyamuni Buddha. As holy persons who had conquered all passions, they came to be popularly worshipped. In Chinese temples, the depictions of the luohan are frequently accompanied by the Bodhisttva Guanyin

The finest group of luohan sculptures remaining from the Song is that in the Lingyan Temple, Changqing, Shandong province. The existing forty larger than life-size figures are rendered in life-like detail as though they were portraits of individuals still alive. Seated in various poses, the figures appear to be engaged in discussion, meditation and other religious exercises. See Zhongguo meishu quanji: diaosu (A Complete Collection of Chinese Art; Sculpture), vol. 5, Beijing, 1988, pls. 45-54

The individualized treatment and lively involvement can also be seen in the present group of luohan figures. These may also be compared to the three hundred forty-one luohan carved in wood and dated between 1045 and 1048 that were discovered in 1963 at the Nanhau Temple, Qujiang, Guangdong province. See, Zhongguo meishu quanji: diaosu, vol. 5, op. cit., 1988, pls. 43 and 44