Chinese Art - Northern Dynasties

T H E B A R A K A T G A L L E R Y

Chinese Art

Northern Dynasties368 AD - 577 AD

Northern Dynasties

H.859Origin: ChinaCirca: 550 AD to 577 AD Dimensions: 12.75" (32.4cm) high

Northern Qi Set of Ten Warr iors

Collection: ChineseMedium: Painted TerracottaLocation: United States

As implied by its short duration, the Northern Qi Dynasty was a turbulent time in the vast history of China. Locusts plagued the lands, ruining the crops. Hunger and ethnic feuding ravaged the population. This set of ten warriors is a memorial to the only individual that could secure peace and prosperity in such chaotic times. Clearly, none of the turmoil is exhibited in these calm, refined representations of warrior figures. They stand tall, some wearing armor, others dressed in a sleeveless tabard draped over a long-sleeved garment secured at their waist with a band. They wear small, snug caps while those in armor brandish pointed helmets, both typical of this era. Some of the original polychrome paint that once decorated these works is still visibly, most often seen on their faces, shoes, caps, or belts. Originally, these warriors would have brandished weapons inserted into the holes present in their hands. Most likely halberds or spears, these weapons were probably fabricated in a material such as wood that deteriorated over the centuries. This group was discovered entombed together in the grave of an elite member of the Northern Qi nobility. Although they were intended to protect the tomb and ward off any infiltrators, be they robbers or malevolent spirits, these warriors do not repel us; instead, their compelling history and stunning aesthetic beauty attracts us to them. - (H.859)

DL.991Origin: ChinaCirca: 386 AD to 534 AD Dimensions: 11.7" (29.7cm) high x 7.1" (18.0cm) wide

Northern Wei Sandstone 'Bodhisat tva ' head

Collection: ChineseMedium: SandstoneCondition: Extra FineLocation: UAE

This head was excavated from 'Shaanxi Province' - 'Xi'an'. There are not many genuine Northern Wei stone pieces currently in the market. - (DL.991)

Northern WeiThe period of the Northern Wei dynasty was crucial to the development of Buddhist art in China. Prior to this there was a heavy reliance on foreign-derived models, especially from India, the birthplace of Buddhism. During the fifth and sixth centuries Chinese artists began to experiment and produced new styles unique to the region. This was made possible because the Northern Wei dynasty lent its support to the Buddhist faith. The cave sites at Yungang and Longmen attest to the flourishing of Buddhist piety and it has been estimated that by the sixth century there were over 30,000 monasteries in Northern China. Multiple images of the Buddha and his attendants were carved in stone, wood and clay.

AM.0239Origin: ChinaCirca: 386 AD to 534 AD Dimensions: 12.5" (31.8cm) high x 6.25" (15.9cm) wide

Northern Wei Brick from a Buddhis t Shrine

Collection: Chinese ArtMedium: ClayLocation: Great Britain



Collection: Chinese ArtStyle: Northern Wei DynastyMedium: ClayLocation: Great Britain

This rectangular brick tile comes from a large group that probably formed the interior wall of a religious foundation or shrine. It is moulded from a dark grey clay that was fired and then painted. The image of a standing Buddha is carved in low relief within a rectangular frame. Traces of the original red pigment are still visible in the niche. A circular mandorla frames the head which displays a large ushnisha, symbolic of the Buddha’s spiritual wisdom. The drapery covers both shoulders and in arranged in semi-circular pleats. The left hand holds an unidentifiable object and the right is raised in the gesture of preaching. Considerable care has been taken to illustrate the width of the sleeve at the Buddha’s right elbow. It is unusual for such architectural fragments to survive from such an early period and it will appeal to all those fascinated by the history of Buddhism. - (AM.0238)

AM.0240Origin: ChinaCirca: 386 AD to 534 AD Dimensions: 12.5" (31.8cm) high x6.25" (15.9cm) wide



This rectangular brick tile comes from a large group that probably formed the interior wall of a religious foundation or shrine. It is moulded from a dark grey clay that was fired and then painted. Traces of the original red pigment are still visible in the niche. The image of a Buddha, seated on a bench, is carved in low relief. The leaf-shaped mandorla is echoed by the shape of the top of the niche. The Buddha’s right hand is raised in the gesture of reassurance whilst the left rests upon his knee. The legs are crossed and the ‘x’ shape is reflected in the arrangement of the scarf draped behind the neck and across the torso. It is unusual for such architectural fragments to survive from such an early period and it will appeal to all those fascinated by the history of Buddhism. - (AM.0240)

This rectangular brick tile comes from a large group that probably formed the interior wall of a religious foundation or shrine. It is moulded from a dark grey clay that was fired and then painted. Traces of the original red pigment are still visible in the niche. The image of a standing Buddha is carved in low relief. The leaf-shaped mandorla is echoed by the shape of the top of the niche. The hand gesture symbolises charity. It is unusual for this type of architectural fragment to survive from such an early period and it will appeal to all those fascinated by the history of Buddhism. - (AM.0241)

This rectangular brick tile comes from a large group that probably formed the interior wall of a religious foundation or shrine. It is moulded from a dark grey clay that was fired and then painted. Traces of the original red pigment are still visible in the rectangular niche. An overlapping triangular frieze runs along the top of the frame above the image of a seated Buddha. It is unusual for this type of architectural fragment to survive from such an early period and it will appeal to all those fascinated by the history of Buddhism. - (AM.0242)

This rectangular brick tile comes from a large group that probably formed the interior wall of a religious foundation or shrine. It is moulded from a dark grey clay that was fired and then painted. Traces of the original red pigment are still visible in the niche. The Buddha is seated on a bench with his legs crossed. The right hand is raised in a gesture of reassurance and the left rests upon the knee. The leaf-shaped mandorla is echoed by the shape of the top of the niche. The drapery falls over the left shoulder in elegant ‘s’ shaped folds. It is unusual for this type of architectural fragment to survive from such an early period and it will appeal to all those fascinated by the history of Buddhism. - (AM.0243)

This rectangular brick tile comes from a large group that probably formed the interior wall of a religious foundation or shrine. It is moulded from a dark grey clay that was fired and then painted. Traces of the original red pigment are still visible in the niche. The Buddha is standing and holds a double drum. The leaf-shaped mandorla is echoed by the shape of the top of the niche. It is unusual for this type of architectural fragment to survive from such an early period and it will appeal to all those fascinated by the history of Buddhism. - (AM.0244)

This rectangular brick tile comes from a large group that probably formed the interior wall of a religious foundation or shrine. It is moulded from a dark grey clay that was fired and then painted. Traces of the original red pigment are still visible in the niche. The image of a bodhisattva with hands clasped in a gesture of prayer and devotion stands within the frame. The head is surrounded by a leaf-shaped mandorla. It is unusual for this type of architectural fragment to survive from such an early period and it will appeal to all those fascinated by the history of Buddhism. - (AM.0245)

This rectangular brick tile comes from a large group that probably formed the interior wall of a religious foundation or shrine. It is moulded from a dark grey clay that was fired and then painted. Traces of the original red pigment are still visible in the niche. The brick depicts a standing bodhisattva with the hands clasped beneath an elaborate fold of drapery. Two circular medallions have been fixed on the shoulders and the figure wears an ornate headdress. The leaf-shaped shaped mandorla is echoed by the form of the top of the frame. It is unusual for this type of architectural fragment to survive from such an early period and it will appeal to all those fascinated by the history of Buddhism. - (AM.0246)

This rectangular brick tile comes from a large group that probably formed the interior wall of a religious foundation or shrine. It is moulded from a dark grey clay that was fired and then painted. Traces of the original orange/red pigment are still visible in the niche. The brick depicts a Buddha seated on a double lotus throne with his hands arranged in the gesture of charity. It is unusual for this type of architectural fragment to survive from such an early period and it will appeal to all those fascinated by the history of Buddhism. - (AM.0247)

This rectangular brick tile comes from a large group that probably formed the interior wall of a religious foundation or shrine. It is moulded from a dark grey clay that was fired and then painted. Traces of the original red pigment are still visible in the niche. The brick depicts a Buddhist figure standing with his hands clasped together in a gesture of prayer or devotion. A circular mandorla surrounds the head and unusually overlaps the top of the torso. The figure wears an elaborate crown and bracelets around the wrists. The drapery clings to the body in folds but flutters out to the sides of the legs. - (AM.0248)

This rectangular brick tile comes from a large group that probably formed the interior wall of a religious foundation or shrine. It is moulded from a dark grey clay that was fired and then painted. Traces of the original red pigment are still visible in the niche. The brick depicts a Buddhist figure standing with his hands clasped together holding an unidentifiable object. The drapery is elegantly arranged, especially the scarf that falls over the shoulders and crosses over beneath the waist. The head is adorned with a lotus leaf crown and the ears are elongated. It is rare for such architectural fragments to survive from the Northern Wei period. - (AM.0249)

This rectangular brick tile comes from a large group that probably formed the interior wall of a religious foundation or shrine. It is moulded from a dark grey clay that was fired and then painted. Traces of the original red pigment are still visible in the niche. The brick depicts a bodhisattva standing with his right hand in the gesture of teaching. The figure wears an elaborate headdress, bracelets around the wrists and a long scarf that encircles the torso. A leaf- shaped mandorla frames the head and echoes the shape of the top of the niche. It is rare for such architectural fragments to survive from the Northern Wei period. - (AM.0250)

This rectangular brick tile comes from a large group that probably formed the interior wall of a religious foundation or shrine. It is moulded from a dark grey clay that was fired and then painted. Traces of the original red pigment are still visible in the rectangular niche. The brick depicts a seated Buddhist figure with the left arm raised and the right held just below waist level. The drapery clings to the body in curved folds. It is rare for such architectural fragments to survive from the Northern Wei period. - (AM.0251)

AM.0341Origin: ChinaCirca: 550 AD to 577 AD Dimensions: 22.05" (56.0cm) high x 16.9" (42.9cm) wide x 3.92" (10.0cm) depth

Northern Qi Buddhis t Stele

Collection: Chinese ArtMedium: StoneLocation: Great Britain

The Northern Qi were an extremely short-lived dynasty during a very tumultuous period in Chinese history. However, despite the military and political unrest that characterised their twenty-seven year reign, the arts continued to flourish. In fact the fifth and sixth centuries were extremely important to the development of Buddhist art in China. Although Buddhism reached China along the Silk Route during the Han era, it took several centuries to really gain ground. The legendary conversion of the Han Emperor Mingdi in the first century AD was a turning point, but the state still hesitated to promote Buddhism over native ideologies such as Confucianism and Daoism. Real progress took place under the Northern Wei, a foreign dynasty who adopted Buddhism as the state religion. The monumental cave sculptures at Yungang and Longmen attest to this new enthusiasm. Although there are notable stylistic differences between Wei and Qi period sculpture, namely in areas such as drapery, both eras witnessed a remarkable enthusiasm for commissioning images of the Buddha.

This stone stele is a perfect example of this trend. The Buddha, carved in high relief, is seated on a pedestal in the centre of a deep niche. The scale of the figures reflects their relative importance. On either side he is flanked by two attendants with bare heads and two bodhisattvas, standing on a pair of crouching lions. The expression of the Buddha is one of deep meditation with his eyes downcast and his left hand pointing towards the earth. The right hand is missing, but may well have been raised in the opposite direction to the left. The folds of the tightly fitting robes have all been carefully delineated and fall over the base in regular concentric semi-circles. The back of the niche features a lightly incised aureole with flame-like projections.Multiple images of the Buddha were extremely popular in this period and are present here in the outer frame. On the upper tier a row of standing attendants are visible behind a compressed leaf- shape mandorla. Within this, above a row of seated Buddhas, four flying heavenly beings support a central flame. Wearing billowing stoles, their hair is tied in topknots that move with the wind. Heavenly beings were low ranking deities or semi-deities who worshipped the Buddha and bodhisattvas in song and dance and sometimes offered them votive gifts such as flowers or incense. They originated in Indian mythology and belong among the Eight Supernatural Beings (Chinese: babuzhong) in the Buddhist pantheon. According to the Lotus Sutra their role is to protect the Buddha and Buddhist doctrine.The two small-scale kneeling figures within the upper mandorla may well represent the donors who commissioned the stele. The lowest tier is equally impressive with four crouching bodhisattvas, framed on either end by a snarling creature, possibly representing a lion or dragon. Dragons feature elsewhere in the design, with their heads visible just above the columns that frame the central niche. Fire and flames appear to be the central theme of the stele, and the outline of the leaf-shape mandorla is created from flames issuing from the mouths of these dragons.This piece is exceptional, both for its iconography and the quality of the carving. In excellent condition, it deserves to be the centrepiece of any serious collection of Buddhist art. - (AM.0341)

AM.0344Origin: ChinaCirca: 386 AD to 534 AD Dimensions: 24" (61.0cm) high

Northern Wei Stone Standing Bodhisat tva

Collection: Chinese ArtMedium: StoneLocation: Great Britain

The Northern Wei were a nomadic people who conquered parts of China in 386 AD. They embraced Chinese customs and traditions to such an extent that they prohibited their own traditional equestrian dress and adopted Chinese family names. This enthusiasm for Chinese fashion even had an impact on Buddhist art- by the end of the fifth century Buddha figures were depicted wearing traditional Chinese rather than Indian robes. The Northern Wei were ardent supporters of Buddhism and proclaimed it to be the official state religion. This was an important turning point as earlier Chinese dynasties had wavered in their endorsement of this newly imported faith. Buddhist art experienced a golden age as witnessed by the monumental cave sculptures at Yunguang and Longmen.

This exceptional sculpture depicts a bodhisattva standing on a lotus pedestal. Bodhisattvas were compassionate beings who delayed their own entry into Nirvana in order to help other sentient beings end the cycle of birth and rebirth. Although Buddhist sacred texts do not specify their gender- in this period they were generally depicted as male. In later centuries, especially during the Ming era, bodhisattvas were often appealed to in their own right. During the Northern Wei however they were nearly always portrayed in pairs in the presence of the Buddha. Originally, therefore, this figure might have been part of a triad.

The details of the costly apparel have been expertly carved. The tall crown is adorned with large stylised flowers and jewelled or beaded swags. A lightly incised necklace overlaps the under-garment which is tied with a sash just above the waist. A stole hangs over the shoulders and billows out slightly towards the base. A wide string of beads or pearls are attached to the stole at the shoulder and cross through a central disc at waist height, descending in a loop on either side. On top of this is suspended an even wider and heavier chain that descends all the way to knee level. The bodhisattva holds a lotus flower in his left hand. The right hand- which is now missing- may once have held a fan or flask, typical attributes of Northern Wei bodhisattvas.

The highlight of this piece however is the facial expression of the bodhisattva. The almond shaped eyes are downcast suggesting a meditative pose but the well-defined lips are slightly upturned- with the suggestion of a smile. This reminds us that bodhisattvas were meant to be approachable, compassionate beings, existing to help others on the path to enlightenment. - (AM.0344)

CK.0299Origin: ChinaCirca: 550 AD to 577 AD

Northern Qi Painted Terracot ta Bul l

Collection: ChineseMedium: Painted TerracottaLocation: UAE

As implied by its short duration, the Northern Qi Dynasty was a turbulent time in the vast history of China. Locusts plagued the lands, ruining the crops. Hunger and ethnic feuding ravaged the population. Despite this unrest the arts continued to flourish, as witnessed by this extraordinary powerful representation of a bull. The animal’s stance is assertive, with its four legs positioned firmly on the corners of the integral rectangular plinth. The head is raised, with the mouth slightly ajar, as if warning off a potential aggressor. The figurine is in excellent condition with traces of the original red polychromy in the mouth, nostrils and ears. The expertly modeled horns create a striking silhouette, contrasting with the sheer bulk of the bull’s body. There is considerable attention to detail in the modelling, especially the incised lines which add to the texture of the tail.

During this period sculptural effigies of domesticated animals were often interred in the tombs of the nobility and elite members of the social hierarchy. Created in all media, these sculptures accompanied the spirit of the deceased into the afterlife. Thus, logically, as we require food to nourish our bodies on earth, so too will we require food to nourish our souls in the afterlife. This work is more than a mere sculpture; it is a gorgeous memorial to the religious and philosophical beliefs of its time. This bull effigy has served its eternal purpose well. Today, it continues to nourish our souls with its beauty and grace. - (CK.0299)

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Chinese Art - Northern Dynasties

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