Two large Sancai glazed stoneware statues of bodhisattvas - Lot 381

Lot n° 381
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Estimation :
40000 - 60000 EUR
Result with fees
Result : 240 500EUR
Two large Sancai glazed stoneware statues of bodhisattvas - Lot 381
Two large Sancai glazed stoneware statues of bodhisattvas China, late Ming dynasty (1368-1644) In the style of Qiao Bin, represented seated in lalitasana, with one leg dangling and the other raised, dressed in robes, wearing a diadem and an important necklace, the first depicting Puxian pusa seated on an elephant, holding in his hands a stem (probably for a lotus flower), the second depicting Wenshu pusa seated on a lion and holding in his hands a scroll, the animals with sumptuous harnesses; the first with restored head; both with some restorations, missing parts and accidents. H: 66.5 and 67 cm Theme. In Buddhism, the bodhisattva is the person who has vowed to follow the path indicated by the Buddha. The four main bodhisattvas - Manjushri, Kshitigarbha, Samantabhadra and Avalokiteshvara - are widely worshipped, particularly in China. The two figures we're interested in, and which are most often associated, are emblematic of the Buddhist pantheon and often frame the representation of the historical Buddha Shakyamuni. They are the bodhisattvas Puxian Pusa, also known as Samantabhadra, and Wenshu Pusa or Manjushri, and their animal attributes, respectively an elephant and a lion. The former symbolizes reason, the latter wisdom. Both present a face with slightly lowered eyes and a serene smile, symbolizing meditation. Their position, known as latisana, originates from the typical representational position used in Indian art and Dharmic religions to depict royal portraits and religious figures; hence the name "royal position" or "royal ease". Decoration. The Chinese term sancai, is used for ceramics with engobe decoration generally in three colors: manganese, green and ochre, although some pieces may have more. This technique, which originated in the Tang period, was also developed under the Ming under the name of fahua. The body of the object was covered with a white slip on which the colored glazes were applied; often juxtaposed, they tended to run and mix, producing drips and colored spots. This technique was mainly used in workshops in northern China's Shanxi province, specialized in tile production. This type of piece, exported to the West via the silk routes, was to influence production in the Middle East and Europe. Related works. Another model in the same spirit, but with a single-block base, is preserved in the collections of the Princeton University Art Museum (Inv. DSC07106). Two other models in the same spirit but without the animals were sold at Christie's, Paris, on June 12, 2019, lots 180 and 181. Another model was sold at Me Ader, Paris, June 26-27, 1951, Collection de la Baronne S[eidlitz] de New York, lot 26.
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