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Lot Essay
These two impressive and colossal figures portray two heavenly guardian kings or the keepers of the universe. It is likely the two figures once belonged to a group of four kings, as Buddhist tradition associates the heavenly defenders with the four directions, Dhritarashtra (Chiguo) of the East, Virudhaka (Zengchang) of the South, Virupaksha (Guangmu) of the West, and Vaishravana (Duowen) of the North, defending the four heavens. However, in China guardian kings were often represented in pairs as well. Each cosmic directional god is portrayed as a military commander identified by their arms and armour. The concept of the four guardians originates in India, where they are also referred to as Lokapalas.
Around the 6th century they were included in Buddhist religion, migrating to China and other East Asian countries. According to Buddhist texts, the four guardian kings protect the Buddha and his realm, and are therefore, apart from being venerated in their own right, worshipped as temple guardians in East Asian countries. Apart from their spiritual value, they also have a political connotation; the Golden Light Sutra teaches that devotion will grant rulers the defence of the four heavenly kings, who safeguard their land and its population. Therefore, the image of the four heavenly kings supposedly also functioned as a symbol of national protection.
While the present figures have lost most of their attributes, their pose and expression indicate that one guardian portrays Dhritarashtra (king of the East) and the other Virupaksha (king of the West). Dhritarashtra is usually depicted with a lute; he would have held the neck of the instrument in his raised left hand, and the body in his right. According to Buddhist scriptures, the lute produces one of the finest sounds in the human world resonating with celestial sounds. Virupaksha's attribute of the divine eye remains in his raised left hand, through which he can see great distances and the karma of sentient beings. His right hand once held a snake with a dragon’s head, symbolising power, nobleness, and greatness. His eyes are expanded – which is also a typical feature – as he is known as the “king who sees all”. The kings are depicted in a wrathful state, which within Buddhist iconography implies expelling away evil energies. Both guardian kings have curling hair arranged in a sophisticated chignon that covers their ushnisa, signifying spiritual elevation. Thick braids rest on their shoulders and hair ornaments that resemble tassels surge at both sides of their heads. Each guardian is wearing an elaborate crown that contains a fenghuang bird, also known as Chinese Phoenix bird, in its centre. This mythological and immortal
bird is associated with the sun, justice, obedience, and loyalty. The animal’s rare appearance is believed to be an omen, which predicts a successful ascent to the throne of a new emperor.
Although it is most likely that the present two sculptures were made in the early Qing dynasty, the heavenly kings are dressed in impressive armour that largely corresponds to the dress of high-ranking officials in the early Ming dynasty. The present sculptures demonstrate all typical elements and include beast head spaulders, a decorated belt running through the mouth of a zoomorphic head, and a wide strap with a circular plate worn around their chest. The metal armour consists of small interlocking geometrical pieces, resulting in a scale like surface. Wide borders of cloth or leather surround the large panels of plated armour, which is a characteristic
feature of this type of Chinese military uniform. The clothing worn underneath the armour is intricately draped and shows flowing trousers with straps and tassels. This ingenuous construction of the ornate composite armour is expertly carved in these two sculptures, revealing the complex knitting of the metal fragments and draping of fabrics.
These guardian figures seem to have been influenced by the Jin dynasty (1115-1234) examples. A strong resemblance is visible with a large wooden guardian king in the Liang-sheng Tang Collection illustrated in The Art of Contemplation - Religious Sculpture from Private Collections, National Palace Museum, Taipei, 1997, p. 210-211. They were also inspired by Song-Yuan examples like the one we sold in Christie's New York, 22 March 2007, lot 227.
The iconography of guardian kings in China became more formulaic as time progressed, especially after the Ming period. A Ming example can be seen in th Aurora Foundation Collection illustrated in The Art of Contemplation - Religious Sculpture from Private Collections, National Palace Museum, Taipei, 1997, p. 219.
The present guardian kings – grand in measurements, rich in detail, and with a radiating wrathful energy, can be considered a highpoint of the artistic heritage of the transition period between the Ming and Qing dynasties. Their close affinity to Ming sculptures indicates that the two kings were made in the 17th century, demonstrating an innovative style which reflects the ascending Qing dynasty, while taking a lot of elements from foregoing Ming guardians.
Around the 6th century they were included in Buddhist religion, migrating to China and other East Asian countries. According to Buddhist texts, the four guardian kings protect the Buddha and his realm, and are therefore, apart from being venerated in their own right, worshipped as temple guardians in East Asian countries. Apart from their spiritual value, they also have a political connotation; the Golden Light Sutra teaches that devotion will grant rulers the defence of the four heavenly kings, who safeguard their land and its population. Therefore, the image of the four heavenly kings supposedly also functioned as a symbol of national protection.
While the present figures have lost most of their attributes, their pose and expression indicate that one guardian portrays Dhritarashtra (king of the East) and the other Virupaksha (king of the West). Dhritarashtra is usually depicted with a lute; he would have held the neck of the instrument in his raised left hand, and the body in his right. According to Buddhist scriptures, the lute produces one of the finest sounds in the human world resonating with celestial sounds. Virupaksha's attribute of the divine eye remains in his raised left hand, through which he can see great distances and the karma of sentient beings. His right hand once held a snake with a dragon’s head, symbolising power, nobleness, and greatness. His eyes are expanded – which is also a typical feature – as he is known as the “king who sees all”. The kings are depicted in a wrathful state, which within Buddhist iconography implies expelling away evil energies. Both guardian kings have curling hair arranged in a sophisticated chignon that covers their ushnisa, signifying spiritual elevation. Thick braids rest on their shoulders and hair ornaments that resemble tassels surge at both sides of their heads. Each guardian is wearing an elaborate crown that contains a fenghuang bird, also known as Chinese Phoenix bird, in its centre. This mythological and immortal
bird is associated with the sun, justice, obedience, and loyalty. The animal’s rare appearance is believed to be an omen, which predicts a successful ascent to the throne of a new emperor.
Although it is most likely that the present two sculptures were made in the early Qing dynasty, the heavenly kings are dressed in impressive armour that largely corresponds to the dress of high-ranking officials in the early Ming dynasty. The present sculptures demonstrate all typical elements and include beast head spaulders, a decorated belt running through the mouth of a zoomorphic head, and a wide strap with a circular plate worn around their chest. The metal armour consists of small interlocking geometrical pieces, resulting in a scale like surface. Wide borders of cloth or leather surround the large panels of plated armour, which is a characteristic
feature of this type of Chinese military uniform. The clothing worn underneath the armour is intricately draped and shows flowing trousers with straps and tassels. This ingenuous construction of the ornate composite armour is expertly carved in these two sculptures, revealing the complex knitting of the metal fragments and draping of fabrics.
These guardian figures seem to have been influenced by the Jin dynasty (1115-1234) examples. A strong resemblance is visible with a large wooden guardian king in the Liang-sheng Tang Collection illustrated in The Art of Contemplation - Religious Sculpture from Private Collections, National Palace Museum, Taipei, 1997, p. 210-211. They were also inspired by Song-Yuan examples like the one we sold in Christie's New York, 22 March 2007, lot 227.
The iconography of guardian kings in China became more formulaic as time progressed, especially after the Ming period. A Ming example can be seen in th Aurora Foundation Collection illustrated in The Art of Contemplation - Religious Sculpture from Private Collections, National Palace Museum, Taipei, 1997, p. 219.
The present guardian kings – grand in measurements, rich in detail, and with a radiating wrathful energy, can be considered a highpoint of the artistic heritage of the transition period between the Ming and Qing dynasties. Their close affinity to Ming sculptures indicates that the two kings were made in the 17th century, demonstrating an innovative style which reflects the ascending Qing dynasty, while taking a lot of elements from foregoing Ming guardians.