A VERY RARE PAINTED AND GILDED LIMESTONE BUDDHIST PLAQUE
A VERY RARE PAINTED AND GILDED LIMESTONE BUDDHIST PLAQUE

LATE YUAN/EARLY MING DYNASTY, LATE 14TH CENTURY

Details
A VERY RARE PAINTED AND GILDED LIMESTONE BUDDHIST PLAQUE
LATE YUAN/EARLY MING DYNASTY, LATE 14TH CENTURY
The rectangular plaque finely carved in the center with Buddha Aksobhya seated in padmasana on a lotus throne, with right hand in bhumisparsamudra and left resting in the lap in dhyanamudra, wearing priest's robes draped crisply around the smoothly muscular body, the broad face with small mouth, wide nose and almost closed eyes below hair dressed in snail curls that also cover the usnisa, framed by a plain shaped halo following the outline of the body, which is further surrounded by a petal-shaped mandorla densely decorated above with a winged figure and various mythical animals, uppermost is a beaked and winged figure of garuda above two makara spewing lotus buds and tassels supported by cross beams, below two yali grasping jeweled tassels in their mouths and fore paws dance atop the backs of elephants, the outer field carved with undulating lotus scroll rising from two lotus-petal carved stands, with remains of red and black pigment and gilding
18 in. (45.5 cm.) high, 14 3/8 in. (36.5 cm) wide, framed
Provenance
said to have come from a pagoda in Nanjing.
French Private Collection.
Emmanuel Gran.
Literature
Kaikodo Journal, no. 5, Autumn, 1997, pp. 258-9 and 390-3, no. 88.

Lot Essay

The appearance of the Buddha and lotus throne and the carving of his throne with elements such as the garuda biting a snake, makara, yali, and elephant show strong Nepalese-Tibetan characteristics that were introduced in the Yuan dynasty. These motifs are ultimately of Indian origin, as are the lotus scrolls around the edges. The Chinese term for this floral motif is 'Indian lotus'. The Indo-Tibetan form of esoteric Buddhism was the official religion of the Mongol court and believed to have efficacious protective and martial powers. Its observance at court continued into the Ming period. Similar representations of Buddha can be seen in Tibetan and Nepalese painting, woodblook printed sutras, and stone carving, such as in marble at the great stone arch at the Juyongguan, northwest of Beijing (dated 1342-1345) and the caves at Feilaifeng near Hangzhou. For comparative material see, Kaikodo Journal, Autumn 1997, p. 390-93. The plaque is said to be from a pagoda in Nanjing. If so, it was probably one of a group that was set into the walls or around the base. With the establishment of the Ming dynasty and its capital at Nanjing, numerous new Buddhist projects were likely to have been initiated under the Hongwu (r. 1368-1398) and Yongle emperors (r. 1403-1424). The gesture of touching the earth, bhumisparsamudra, refers to the historical Buddha Sakyamuni calling the earth to witness at the moment of his enlightenment. In later Buddhist imagery, beginning in the Tang period, this became the distinguishing mudra of one of the five principal directional Buddhas of esoteric Buddhism, Aksobhya, who presides over the East. Similar representations of Buddhas displaying the earth-touching gesture can be seen on the marble arch-shaped pagoda base at the Juyongguan, both in the mandala of Aksobhya and among the Buddhas of the ten directions. See Jiro Murata and Akira Fujieda, Koyokan (Chü-yung-kuan: The Buddhist Arch of the Fourteenth Century A.D. at the Pass of the Great Wall Northwest of Peking), Kyoto University, 1957, vol. 1, p.77 and vol. 2, pl. 80.

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