Lot 205
17th C. Chinese Amitabha Buddha, Varada Mudra, Hebei
17th C. Chinese Amitabha Buddha, Varada Mudra, Hebei
Starting Bid: $5,000
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East Asia, China, late Ming to early Qing Dynasty, ca. 17th to 18th century CE. Standing gracefully upon a double lotus pedestal, this painted wood and stucco sculpture from 17th to 18th century Hebei Province in North China presents Amitabha Buddha in a moment of serene yet active compassion. The right hand extends in the Varada Mudra, a gesture of giving and wish-fulfillment, while the left hand is held open and upward at the chest, hinting at a once-held sacred object, perhaps a lotus or a precious jewel, now lost to time. The Buddha's serene countenance, framed by a head adorned with meticulously carved snail shell curls representing his wisdom, is draped in flowing robes of painted red and hints of other pigments, suggesting a rich history of devotion and artistic care during the late Ming to early Qing dynasty. This sculpture offers a compelling glimpse into the artistic and spiritual landscape of North China during this transformative period. Size: 17.5" Diameter x 47.5" H (44.4 cm x 120.6 cm)
Amitabha Buddha, also known as Amitayus ("Infinite Life") or Amitabha ("Infinite Light"), holds a central and deeply revered position within Mahayana Buddhism, particularly in East Asia. He is the principal Buddha in Pure Land Buddhism, a school that gained immense popularity in China and continues to have a significant following. According to Pure Land scriptures, Amitabha presides over Sukhavati, the "Western Paradise" or "Land of Bliss," a pure and radiant realm free from suffering and conducive to enlightenment. Through his boundless compassion and the power of his vows, Amitabha is believed to have created this Pure Land and offers a path to rebirth there for all beings who sincerely call upon his name with faith.
Amitabha Buddha's arrival in China, likely through the Silk Road transmission of Buddhist texts, marked a pivotal moment in the development of Chinese Buddhism. While early translations of Pure Land sutras appeared as early as the 2nd century CE, it was during the Eastern Jin Dynasty (317-420 CE) that figures like Huiyuan (334-416 CE) significantly popularized devotion to Amitabha, establishing the first major Pure Land community at Mount Lu. The translation of key Pure Land scriptures, such as the Larger Sutra of Immeasurable Life, the Smaller Sutra of Immeasurable Life, and the Contemplation Sutra, provided a doctrinal foundation for this burgeoning faith.
The subsequent Sui and Tang Dynasties (581-907 CE) witnessed the consolidation and widespread dissemination of Pure Land Buddhism across Chinese society. Monks like Tanluan (476-542 CE), Daochuo (562-645 CE), and Shandao (613-681 CE) systematized Pure Land teachings, emphasizing the efficacy of reciting Amitabha's name as the primary practice for rebirth in the Pure Land. Shandao, in particular, is often regarded as the true founder of Chinese Pure Land Buddhism, articulating a clear path of reliance on Amitabha's salvific power. The establishment of Pure Land as an independent school, alongside Chan (Zen), marked a significant diversification of Chinese Buddhist traditions.
During the Song Dynasty (960-1279 CE) and beyond, Pure Land practices became deeply integrated into the fabric of Chinese religious life. The ease of practice and the universal accessibility of Amitabha's grace appealed to both the educated elite and the common populace. The syncretic tendencies of Chinese Buddhism also led to the incorporation of Pure Land elements into other schools. The image of Amitabha, often depicted in serene majesty accompanied by bodhisattvas like Avalokitesvara and Mahasthamaprapta, became a ubiquitous symbol of hope and salvation in Chinese art and culture, reflecting the profound and lasting impact of Amitabha Buddha on the spiritual landscape of China.
Provenance: private Los Angeles, California, USA collection, acquired from 1990 - 2005
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Item #
193629
- Condition: Excellent. Missing large toe of proper right foot. Some losses to base. Professionally repaired with break lines visible in areas. Fissures to gesso and wood with chipping in areas. Otherwise, excellent presentation with nice preservation of pigments. Light patina in areas.
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