THE BARAKAT GALLERY

Chinese Art

Song Dynasty

960 AD - 1279 AD

Yuan Dynasty

1271 AD - 1368 AD

Song Dynasty

After the collapse of the Tang Dynasty (906 AD), there was a succession of short-lived

governments (known as the Five Dynasties). This period of unrest came to an end with

the establishment of the Northern Song Dynasty in 960 AD. Renewed political stability

helped to usher in a period of economic prosperity and a massive rise in population.

Amongst the many cultural achievements of the Song Dynasty, the re- invigoration of

the examination system and the invention of movable type rank highly. Intellectually

the greatest achievement was the development of Neo-Confucianism- a philosophical

movement heavily influenced by Buddhist teachings. Although Buddhism had reached

China from India during the Han Dynasty, it took time for the new faith to make

progress. This was partly because it had to compete with native ideologies, namely

Confucianism and Daoism. It was possible, however, to find common ground between

these belief systems and by the Tang Dynasty Buddhism was experiencing a golden

age in China.

Large Sculpture of a Recumbent Ram

H.o40 Collection: Chinese

Origin: China Medium: Granite

Circa: 960 AD to 1279 AD Location: United States

This stone sculpture depicts a kneeling ram slightly lifted by its fore legs. The animal

kneels on a square slab mount with a protruding mound beneath its belly. The curved

horns follow the line of the jaw and neck tucked between pulled ears. A delicately

carved face reveals the realistic aspects of the animal as well as its gentle and docile

attributes.

Chinese stone spirit road statuary represents a strong and ancient branch of

monumental sculpture based on beliefs connected with ancestor worship and the

importance of tombs. The tradition had existed since the Han Dynasty although the

belief in the inherent power of an image to bring about that which it represented or

symbolized predates Han stone statuary. This belief that an image could influence both

the material and spiritual worlds was magnified through the association of stone with

immortality. The Song differed from their predecessors by producing images of

animals for purely symbolic reasons. Sheep (or rams) and tigers appear in their ancient

traditional form derived from Bronze Age figurines--the kneeling sheep symbolizing

filial piety; the tiger, martial valor. - (H.o40)

Marble Sculpture of a Seated Sage

H.042 Collection: Chinese

Origin: China Medium: Marble

Circa: 960 AD to 1279 AD Location: United States

Dimensions: 26.25\" (66.7cm) high x

15\" (38.1cm) wide

Shown seated on a throne, this figure clasps his hands beneath the long folds of a

flowing robe, seemingly holding an emblem or offering. The tips of his shoes appear

beneath the hems of layered clothing which is accompanied by a hanging sash and

square chest plate. The figure is portrayed with a strong jawbone, broad facial features,

pendulant earlobes, and complacent expression. His thick combed hair is neatly tucked

under a triangular shaped crown adorned with a gem studded band and an image of a

meditating Buddha on a lotus throne. Though it is unclear whether this figure

represents a Taoist deity, Confucian dignitary, or Buddhist figure, it is probable that he

possesses admirable virtues or extraordinary ability that make him a worthy subject for

stone work. Since stone was associated with the cult of immortality, only the heroic

and sagacious were chosen for this medium. - (H.042)

Stone Sculpture of a Head

H.043 Collection: Chinese

Origin: China Medium: Stone

Circa: 960 AD to 1279 AD Location: United States

Dimensions: 9.5\" (24.1cm) high x

6.5\" (16.5cm) wide

The menacing expression of this figure is magnified by a tensed browline, narrow inset

eyes, flaring nostrils, and a pronounced beard and mouth. The exaggerated features are

achieved through the technique of the sculptor, whose bold cuts into the stone enhance

the three dimensionality and thus release the vitality of the subject. Stylistic changes in

the portrayal of military men and protective deities are evidenced in this head as a

result of the penchant toward civil life--the rounded face implies suppleness and the

banded headdress with large floral motif in the front center suggests a trend toward

blending the martial and civil traditions using Taoist and Confucian symbolism. The

tacit association of stone with immortality created a situation in which only virtuous

subjects, such as heroes and sages, were represented with serious restrictions on how

their virtues could be portrayed. It is likely that this stone head once topped a goliath

figure which either represented a historical personage memorialized in stone or a

conventional martial image that belonged to a larger constellation of characters that

aligned the spirit road. - (H.043)

Large Sculpture Of A Rat

H.525 Catalogue: V17

Origin: China Collection: Chinese

Circa: 960 AD to 1279 AD Medium: Granite

Dimensions: 19.25\" (48.9cm) high Location: United States

This mounted stone carving of a rat is representative of the craftsmanship of Song

Dynasty carvers as production for certain auspicious animals, guardians, and Buddhas

increased in tandem with the trend to aggrandize places of worship or memorial halls.

With the massiveness of stone slats, artisans could create awe-inspiring dragons and

guardians to stand at the entrances of tomb complexes, palaces and temples. The

preference for a rock medium is also tied to the belief that rock contains a positive

energy that could be transferred to the carved formation endowing it with a strong life

force. Crouched with legs bent and tail stretched out, the rat's face projects over one

end of the mount. Its ears stand up, and its gently carved features give a countenance of

solemnity. The rat is the first of the twelve animals that makes up the Twelve Terrestrial

Branches, and is an emblem of timidity and meanness. It is also regarded as a symbol

of industry and prosperity on account of its ability for locating, acquiring and hoarding

abundant supplies of food. Among the various structures that were adorned with large

stone carvings, tombs attracted special categories of sculpture: pillars at the entrance

and large carvings of animals and men. Stone pieces from the Song Dynasty tended to

depict the real world. It is likely that this carving of rat could have been placed near a

tomb complex. - (H.525)

Song Stone Head of Buddha

H.551 Catalogue: V20

Origin: China Collection: Chinese

Circa: 960 AD to 1279 AD Medium: Stone

Dimensions: 10\" (25.4cm) high x Location: United States

6.75\" (17.1cm) wide

This head of Buddha is an exquisite example of the trend toward simplistic renderings

of Buddhist images as a result of the expansion of Ch'an school teachings during the

Sung period. The face is rounded and carved with a sense of fluidity as the facial

expressions convey the blissful, serene sensation of enlightenment. The lips of the

mouth are upturned, giving the impression of a \"smiling Buddha,\" and the eyes are half

closed in meditation, accentuating the Buddha's transcendence of all states of

existence. Elegantly arched eyebrows and the delicately sculpted nose create a fluid

line that extends beyond both corners of the mouth to the undefined area of the chin,

giving the face a rather supple feel. The hair is twisted into tight curls incised with

spirals forming an usnisa, a swelling on the top of the head signifying the Buddha's

enlightenment. Though the swelling is usually covered with hair, in this image, it is

bare, boldly protruding from the summit of the head. The pendant earlobes curve

upward at the tips, unadorned and rounded. Buddhist sculpture of the Sung period is

characterized by sentimentalism, expressed through the grace and feminine refinements

of the features. This sculpture captures the artistic as well as spiritual sentiments of the

period. - (H.551)

S o n g B r o w n - G l a z e d Va s e

PF.5334 Collection: Chinese

Origin: China Medium: Terracotta

Circa: 960 AD to 1279 AD Location: United States

Dimensions: 17.25\" (43.8cm) high x

10.5\" (26.7cm) wide

Used to contain liquids, this vase is a T’ang archetype that is characterized by its high

sloping shoulder and long rounded belly that tapers at the foot. A shiny, dark brown

glaze has been applied to the surface with occasional pitting and mottled amber streaks

more concentrated in the neck area. Though the glaze continues on the inner side of the

neck, the beveled lip is left unglazed, displaying an appealing coarse texture illustrative

of the transitional T’ang-Song Dynasty taste for unadorned, natural beauty. - (PF.5334)

S o n g B r o w n - G l a z e d Te r r a c o t t a Va s e

H.612 Collection: Chinese

Origin: China Medium: Glazed-Terracotta

Circa: 960 AD to 1279 AD Location: United States

Dimensions: 8\" (20.3cm) high

This gorgeous vessel, covered in a dark brown glaze, feature two twisted handles that

connect the join of the bulbous neck and shoulders to the body. The classical shape is a

type still seen today in rice-wine vases throughout China and Japan. Most likely, this

vessel served the same function in its own day. The short-lived Song (also spelled

Sung) Dynasty partially reunified the country after a period of turmoil following the

fall of the T’ang. Historically, the Song are noted for their revival of the ancient

Confucian beliefs, ushering a period known as Neo-Confusianism that would dominate

Chinese (and later on Japanese) thought for the next several centuries. Although best

known for their philosophical contributions, this vase attests to the rich artistic tradition

that flourished under the enlightened rulers of the Song Dynasty. The rich brown glaze

is astounding not for its uniformity, but for its subtle variations of hue. The beige of the

clay seeps through in portions where the glaze settled more thinly appearing almost

violet in color. The beauty of this vessel is timeless. A true classic, it would appear as

equally striking resting on a table in a modern home or being passed around during a

Song Dynasty ceremonial feast. This vase symbolizes the joys of life: drinking,

celebrating with friends, art, and appreciation of beauty. More than a relic, this vase is

a reminder of all we share with the past, reminding us that our modern culture is deeply

rooted in the traditions and cultures of those who came before us. - (H.612)

Relief Panel Depicting an Attendant

H.657 Collection: Chinese

Origin: China Medium: Terracotta

Circa: 960 AD to 1279 AD Location: United States

Dimensions: 16.75\" (42.5cm) high

Relief Panel Depicting an Attendant

H.657 Collection: Chinese

Origin: China Medium: Terracotta

Circa: 960 AD to 1279 AD Location: United States

Dimensions: 16.75\" (42.5cm) high

Relief Panel Depicting an Attendant

H.658 Collection: Chinese

Origin: China Medium: Terracotta

Circa: 960 AD to 1279 AD Location: United States

Dimensions: 16.25\" (41.3cm) high

The Sung (Song) Dynasty partially reunified China after a period of chaotic turmoil

following the fall of the T’ang. Historically, the Sung are noted for their revival of the

ancient Confucian beliefs, ushering a period known as Neo-Confusianism that would

dominate Chinese (and later on Japanese) thought for the next several centuries.

Although best known for their philosophical contributions, this relief panel attests to

the rich artistic tradition that flourished under the enlightened rulers of the Sung

Dynasty. Discovered buried inside a tomb, this gorgeous figurative panel, sculpted in

high relief, depicts a beautiful female attendant patiently awaiting the command of her

master. Her hair is elegantly modeled and she features a sweetly smiling visage that

reveals the influence of T’ang statuary on the art of the Sung Dynasty. She presents us

with a tray of round bun-like treats that were meant for consumption in the afterlife.

Thus this attendant would have continued to serve her master even after his earthly

demise. That tradition of elaborate burial tombs containing treasures from life and

sculpted replica of courtly entourages dates back to the earliest dynasties of China. By

the time of the Han (206 B.C.-220 A.D.), this practice had become entrenched in

Chinese culture. These elaborate burials reflect the ancient philosophical and religious

beliefs that the afterlife was an extension of our earthly existence. While this panel

might have been interred more as a traditional custom than as an otherworldly servant,

such work reveals the tremendous artistic heritage of China. This work is created out of

an age-old tradition assuring that the deceased was welcomed into the next world and

well provided for. With gorgeous surroundings such as this panel, what more could one

ask for to be ushered into the afterlife? - (H.658)

Painted Relief Panel Depicting a Chef

H.659 Collection: Chinese

Origin: China Medium: Stone

Circa: 960 AD to 1279 AD Location: United States

Dimensions: 21\" (53.3cm) high

The Sung (Song) Dynasty partially reunified China after a period of chaotic turmoil

following the fall of the T’ang. Historically, the Sung are noted for their revival of the

ancient Confucian beliefs, ushering a period known as Neo-Confusianism that would

dominate Chinese (and later on Japanese) thought for the next several centuries.

Although best known for their philosophical contributions, this panel, rendered in low

relief, attests to the rich artistic tradition that flourished under the enlightened rulers of

the Sung Dynasty. Discovered buried inside a tomb, this gorgeous rectangular panel

depicts an elegantly dressed chef presenting his latest dish fresh from the kitchen. The

culinary arts of China are the oldest and most sophisticated in the world. Cooking was

considered an art form as early as the 5th century B.C. when the earliest etiquette texts

were written. The noble dress of this chef, including the black headdress and red tunic,

reflects his honored position within the courtly entourage. He appears to be walking, as

if caught in the act of delivering this meal to the table. We can almost imagine the

fragrant aromas tantalizing our noses as our appetites are whetted. Although we cannot

know who this chef was, we can assume that he worked on the staff of the noble elite,

for only such high-ranking members of society could command such extravagant burial

rites. Most likely, this stone panel was specifically commissioned for the sole purpose

of accompanying the deceased into the afterlife, thereby reflecting both the wealth of

the deceased as well as the familial piety of his ancestors. Thus, this divine meal was

not meant for human consumption, but serves as a symbol of the celebratory feasts that

await our spirits in heaven. - (H.659)

Painted Relief Panel Depicting an Attendant

H.660 Collection: Chinese

Origin: China Medium: Stone

Circa: 960 AD to 1279 AD Location: United States

Dimensions: 20.75\" (52.7cm) high

The Sung (Song) Dynasty partially reunified China after a period of chaotic turmoil

following the fall of the T’ang. Historically, the Sung are noted for their revival of the

ancient Confucian beliefs, ushering a period known as Neo-Confusianism that would

dominate Chinese (and later on Japanese) thought for the next several centuries.

Although best known for their philosophical contributions, this relief panel attests to

the rich artistic tradition that flourished under the enlightened rulers of the Sung

Dynasty. Discovered buried inside a tomb, this gorgeous rectangular panel, sculpted in

low relief, depicts a beautiful female attendant patiently awaiting the command of her

master. Her hair is elegantly styled and she wears a tunic, painted red, covering her

long flowing robes. She carries a vessel of sorts in her two hands, perhaps a teapot,

seemingly offering us a taste. However, this beverage is meant for consumption in the

afterlife. Thus, this attendant would have continued to serve her master even after his

earthly demise. The tradition of elaborate burial tombs containing treasured relics from

life and sculpted replica of courtly entourages dates back to the earliest dynasties of

China. By the time of the Han (206 B.C.-220 A.D.), this practice had become

entrenched in Chinese culture. These elaborate burials reflect the ancient philosophical

and religious belief that the afterlife was an extension of our earthly existence. This

work is created out of an age-old tradition assuring that the deceased was welcomed

into the next world and well provided for. With gorgeous surroundings such as this

panel ushering one into the afterlife, heaven must be even more spectacular than ever

imagined. - (H.660)

Painted Relief Panel Depicting a Chef

H.661 Collection: Chinese

Origin: China Medium: Stone

Circa: 960 AD to 1279 AD Location: United States

Dimensions: 21\" (53.3cm) high

The Sung (Song) Dynasty partially reunified China after a period of chaotic turmoil

following the fall of the T’ang. Historically, the Sung are noted for their revival of the

ancient Confucian beliefs, ushering a period known as Neo-Confusianism that would

dominate Chinese (and later on Japanese) thought for the next several centuries.

Although best known for their philosophical contributions, this relief panel attests to

the rich artistic tradition that flourished under the enlightened rulers of the Sung

Dynasty. Discovered buried inside a tomb, this gorgeous rectangular panel, sculpted in

low relief, depicts an elegantly dressed chef bringing out his latest dish from the

kitchen. The culinary arts of China are the oldest and most sophisticated in the world.

Cooking was considered an art form as early as the 5th century B.C. when the first

etiquette texts were written. The noble dress of this chef, including the black headdress

and red cloak with white spots, reflects his honored position within the courtly

entourage. He appears to step forward, as if caught in the act of delivering this meal to

the table. We can imagine him pulling off the lid as the steamy aromas tantalize our

nose and the colors tease our eyes. Although we cannot know who this chef was, we

can assume that he worked on the staff of the noble elite, for only such high-ranking

members of society could command such an extravagant burial. Most likely, this stone

panel was specifically commissioned for the sole purpose of accompanying the

deceased into the afterlife, thereby reflecting both the wealth of the deceased as well as

the familial piety of his ancestors. Thus, this divine meal was not meant for human

consumption, but spiritual. - (H.661)

Stone Buddha Head

PF.5332 Collection: Chinese

Origin: China Medium: Stone

Circa: 960 AD to 1279 AD Location: United States

Dimensions: 16\" (40.6cm) high

A beautiful representation of Buddha with a tight-locked, swirl curl hairstyle, this piece

exemplifies the rich iconographic world of Buddhism. Each curl contains a stylized

version of the Buddhist symbol of the law 'which resembles a reversed swastika. The

conical modeling of the. head allows the elaborate display of repetitious hair locks

which is considered to be a special mark of a Buddha signifying his superior spiritual

knowledge and achievement. Though exhibiting other Buddha- like features, such as

pendulant earlobes and lines at the chin and neck, the cranial protruberance of

knowledge and enlightenment, ushnisha, appears absent; it is perhaps suggested,

however, in the conical formation of the head.

Sung period sculpture is characterized by monumental, blocky forms which convey the

essence of heaviness, figuratively relating to one's profundity and resolve. Depicted in

a state of meditation, the figure is given a full face, half-crescent eyes, long arched

eyebrows, high-bridged nose. and small mouth. The state of calm is clearly conveyed

through the Buddha's expression and energy which were intended to instruct and

inspire us toward the path of enlightenment. - (PF.5332)

A beautiful representation of Buddha with a tight-locked, swirl curl hairstyle, this piece

exemplifies the rich iconographic world of Buddhism. Each curl contains a stylized

version of the Buddhist symbol of the law 'which resembles a reversed swastika. The

conical modeling of the. head allows the elaborate display of repetitious hair locks

which is considered to be a special mark of a Buddha signifying his superior spiritual

knowledge and achievement. Though exhibiting other Buddha- like features, such as

pendulant earlobes and lines at the chin and neck, the cranial protruberance of

knowledge and enlightenment, ushnisha, appears absent; it is perhaps suggested,

however, in the conical formation of the head.

Sung period sculpture is characterized by monumental, blocky forms which convey the

essence of heaviness, figuratively relating to one's profundity and resolve. Depicted in

a state of meditation, the figure is given a full face, half-crescent eyes, long arched

eyebrows, high-bridged nose. and small mouth. The state of calm is clearly conveyed

through the Buddha's expression and energy which were intended to instruct and

inspire us toward the path of enlightenment. - (PF.5332)

Architectural Tile Featuring a Polo Player

H.710 Collection: Chinese

Origin: China Style: Song Dynasty

Circa: 960 AD to 1279 AD Medium: Painted Terracotta

Dimensions: 11\" (27.9cm) high Location: United States

Architectural Tile Featuring a Polo Player

H.709 Collection: Chinese

Origin: China Medium: Painted Terracotta

Circa: 960 AD to 1279 AD Location: United States

Dimensions: 11.25\" (28.6cm) high

Architectural Tile Featuring a Polo Player

H.708 Collection: Chinese

Origin: China Medium: Painted Terracotta

Circa: 960 AD to 1279 AD Location: United States

Dimensions: 11.25\" (28.6cm) high

Architectural Tile Featuring a Polo Player

H.711 Collection: Chinese

Origin: China Medium: Painted Terracotta

Circa: 960 AD to 1279 AD Location: United States

Dimensions: 11.5\" (29.2cm) high

Architectural Tile Featuring a Polo Player

H.712 Collection: Chinese

Origin: China Medium: Painted Terracotta

Circa: 960 AD to 1279 AD Location: United States

Dimensions: 11.5\" (29.2cm) high

The Song (also spelled Sung) Dynasty partially reunified the country after a period of

turmoil following the fall of the T’ang. Historically, the Song are noted for their revival

of the ancient Confucian beliefs, ushering a period known as Neo-Confucianism that

would dominate Chinese (and later on Japanese) thought for the next several centuries.

Although best known for their philosophical contributions, this decorative architectural

tile attests to the rich artistic tradition that flourished under the enlightened rulers of the

Song Dynasty. Presumably, such tile decorated the tombs of the royal elite and perhaps

once adorned their palace during their lifetime. The tile depicts a horse and rider

engaged in a polo match colorfully painted with an impressive amount of the original

pigment still intact. Polo was a popular aristocratic pastime associated with the royalty,

reinforcing the assumption that this tile once decorated a luxurious palace. No doubt,

this subject matter reflects the vital importance of the horse in the defense and

expansion of the empire as well as in economic matters. The strength and speed of the

horse would have aided communication between far away provinces that is an essential

factor of maintaining stability in a centralized government. Horses have been fabled

creatures throughout Chinese history. In fact, they were venerated as ancestors of the

mythological dragon. Horses were vital to defending the borders against barbarian

invaders from the north. The need to import stronger and swifter horses from Central

Asia (as opposed to the local Mongol Pony) was the primary factor in the

establishment of the Silk Road, the economic lifeline of the ancient world that united

the Chinese with Mediterranean cultures as early as the Han Dynasty. Clearly, horses

were honored throughout Chinese history, a fact most elegantly reflected in their tomb

sculptures. This fine painted panel is no exception. Expertly depicting the speed and

grace of this majestic creature, this panel is both a splendid work of decorative art as

well as a fitting memorial to the revered horse. - (H.707) - (H.710) - (H.709) - (H.708)

- (H.711) - (H.712)

The Song (also spelled Sung) Dynasty partially reunified the country after a period of

turmoil following the fall of the T’ang. Historically, the Song are noted for their revival

of the ancient Confucian beliefs, ushering a period known as Neo-Confucianism that

would dominate Chinese (and later on Japanese) thought for the next several centuries.

Although best known for their philosophical contributions, this decorative architectural

tile attests to the rich artistic tradition that flourished under the enlightened rulers of the

Song Dynasty. Presumably, such tile decorated the tombs of the royal elite and perhaps

once adorned their palace during their lifetime. The tile depicts a horse and rider

engaged in a polo match colorfully painted with an impressive amount of the original

pigment still intact. Polo was a popular aristocratic pastime associated with the royalty,

reinforcing the assumption that this tile once decorated a luxurious palace. No doubt,

this subject matter reflects the vital importance of the horse in the defense and

expansion of the empire as well as in economic matters. The strength and speed of the

horse would have aided communication between far away provinces that is an essential

factor of maintaining stability in a centralized government. Horses have been fabled

creatures throughout Chinese history. In fact, they were venerated as ancestors of the

mythological dragon. Horses were vital to defending the borders against barbarian

invaders from the north. The need to import stronger and swifter horses from Central

Asia (as opposed to the local Mongol Pony) was the primary factor in the

establishment of the Silk Road, the economic lifeline of the ancient world that united

the Chinese with Mediterranean cultures as early as the Han Dynasty. Clearly, horses

were honored throughout Chinese history, a fact most elegantly reflected in their tomb

sculptures. This fine painted panel is no exception. Expertly depicting the speed and

grace of this majestic creature, this panel is both a splendid work of decorative art as

well as a fitting memorial to the revered horse. - (H.707) - (H.710) - (H.709) - (H.708)

- (H.711) - (H.712)

Yuan Dynasty

The Yuan Dynasty was established by Kublai Khan, the grandson of Genghis Khan,

upon relocating the capital of his empire from Mongolia to Beijing. The Forbidden

City was constructed, a relative oasis of Mongolian culture in the heart of China. While

the Mongol elite retained their native language and customs, they did adapt the Chinese

system of bureaucratic government and cemented the authoritarian rule of the emperor.

Although they were unaffected by Chinese culture, the Yuan did little to stifle the

native traditions and beliefs of their subjects. Buddhism continued to flourish, although

the monasteries received little funding from the state. In fact, during the Yuan Dynasty,

China first began to open up to foreigners. Christian and Hindu missionaries were

established in Beijing and Marco Polo made his famous journey during the Yuan era.

While the Chinese never accepted the Yuan as a legitimate dynasty, instead viewing

them as foreign bandits, the Mongolians rebelled against the Beijing Khans for

becoming, “too Chinese.” In the end, the Yuan Dynasty had the shortest duration of the

major Chinese Dynasties, lasting little more than a hundred years.

Panel Depicting a Scene of Immortality

H.027 Collection: Chinese

Origin: China Medium: Stone

Circa: 1279 AD to 1368 AD Location: United States

The illustrative compositions of this panel are arranged in three successive stages. In

the lower stage, an oarsman steers a docking sailboat containing two passengers

dressed in scholarly attire engaged in conversation. The spatial and temporal distance

is collapsed, imbuing this pictorial scene with the quality of transcendence. The boat

quickly arrives at the dock that is represented by stairs leading to the arched entrance

of a walled community. Inside the community, which is depicted in the middle stage,

ornate pagoda-like structures and gardens rise above the walls that are being protected

by guards--one is captured in the position of drawing a bow and arrow. The face of a

bearded man wearing a scholar cap can be seen through the window of a tiered

structure. The upper stage of the panel appears to represent the heavenly realm of

immortality. An energetic man riding a horse swings his arms high in the air grasping

the reins of the horse in one hand and an emblem in the other. He is accompanied by

an attendant to the rear holding an umbrella and another walking ahead carrying an

offering. The panel is decorated with curled patterned borders representing foliage.

Throughout Chinese history, stone panels were created to commemorate the passing of

rites or events, often commissioned by wealthy families and patrons. Many of these

panels blended mythological Taoist ideas, Buddhist beliefs, and Confucian morality

with events of actual life. They provide rich historical data regarding the practice and

belief system of any given period in China. - (H.027)

Yu a n S t o n e P a n e l

H.519 Catalogue: V17

Origin: China Collection: Chinese

Circa: 1271 AD to 1368 AD Medium: Stone

Dimensions: 23.5\" (59.7cm) high Location: United States

This stone panel depicts a scene at the \"Glorious Pavilion\", the inscription located at

the center of the panel. A warrior, stylistically portrayed with an elongated neck,

angular face and stocky body, is walking as if he is patrolling the pavilion grounds. He

rests a sword-like weapon on a layered cape covering his shoulders, which touches the

tips of his intricately feathered headdress. Back leg cocked and front leg forward, he

seems to convey a sense of movement. His profile is dramatic, drawing attention to his

exquisite forehead and nose and long neck. Behind him stands a woman poised in royal

finery. Her exaggerated posture emphasizes her beautiful shape and the attractive shawl

tied around her hip. She wears a high mid-riff protective garment decorated with

various motifs and patterns, boots and a intricate headdress. A second layering of

clothing hangs outs of this outer layer as she grasps an two-pronged object in her hand.

The warrior and woman are separated by a pillar with a young deer licking its coat at

the base. The pillar supports the pavilion which looms above the heads of the two

figures. Four rotund foundations dangle in the empty space occupied by the figures,

seeming to delineate a spatial boundary between them and the pavilion. Luscious trees

in bloom arch over the roof as the stele pierces through the treetops maintaining the

symmetric balance of the structure. - (H.519)

Yu a n Te r r a c o t t a R e l i e f P a n e l

H.552 Catalogue: V20

Origin: China Collection: Chinese

Circa: 1279 AD to 1368 AD Medium: Terracotta

Dimensions: 16\" (40.6cm) high Location: UAE

The Yuan developed vigorous depictions of pacing and often winged felines, which

were placed in pairs to guard the sacred ways to the royal tombs--a widespread practice

during the preceding Sung dynasty as well.� In this relief, a lion is pictured

crouching over an embroidered ball clenching in its mouth a long twine that is tangled

beneath its feet.� The lion is not an indigenous animal to China, but it was

introduced later in connection with Buddhism, figuring as the defender of law and

protector of buildings.� It is an emblem of valor and energy that were considered

essential to the cultivation of wisdom.

The Chinese lion, despite its big eyes and fierce countenance, is not treated as the

supreme predatory animal--a position, rather, held by the tiger which flourishes in the

northern hinterland and evokes fear in the hearts and imagination of Chinese

people.� Instead, the lion is often represented as a mythical beast playing with a ball

or sacred gem amidst peony flowers and flexing its beautifully curled mane.� This

particular representation seems to blend mythical and playful characteristics, creating a

scene that is not only awe-inspiring but informative of the animal innocent yet

righteous nature. - (H.552)

Terracotta Relief Sculpture

PF.4360 Catalogue: V22

Origin: China Collection: Chinese

Circa: 1279 AD to 1368 AD Medium: Terracotta

Dimensions: 16.25\" (41.3cm) high Location: UAE

This panel depicts the encounter between the tiger and dragon, two powerful animals

of Chinese cosmogony and legend. On the left side, the serpentine-bodied dragon

slithers down from heaven, keeping its hind legs attached to the clouds and propelling

itself on waves crashing against a rocky surface. This dragon is an amalgamation of

beastly qualities, possessing the horns of a deer, scales of a carp, claws of hawk, palm

of a tiger, torso of a snake and belly of a frog. The tiger rules in the terrain of dense

forests and steep mountains, emerging from its lair to confront this celestial force. Its

body is short and muscular, its forelegs and hind legs decorated in a spiral motif and

stripes depicted by neatly aligned horizontal markings. Its protruding eyes, rounded

face and stylistic nose give the tiger a human quality, as it growls in response to the

dragon's fierce roar.

The fifth animal of the Twelve Terrestrial Branches, the dragon is an mythological

creature that descends from heaven to lurk the waterways of the world, meting out the

good from the evil and exerting beneficial influence on mankind. The dragon

symbolizes vigilance, grandeur and worldly success as it is used as a motif in imperial

regalia and official decorum. There are many representations of the dragon, each

suggesting various meanings. The five-clawed dragon refers to the King, while the

transformation of the carp into a dragon is a metaphor of scholarly achievement.

The tiger, the third of the Twelve Terrestrial Branches, is supreme among animals of

the real world that roam the earth. It is taken as the emblem of magisterial dignity and

sternness, as the model for the courage and fierceness that should characterize a soldier,

and its presence or roar is synonymous with danger and terror. In this scene, the

dragon and tiger meet, symbolizing the confrontation between the two great forces of

the universe: heaven and earth. - (PF.4360)

Gilt Stucco Head of Kuan-Yin

H.049 Collection: Chinese

Origin: China Medium: Gilt Stucco

Circa: 960 AD to 1644 AD Location: United States

Cast in exquisite detail, this sculpture of Kuan-Yin is applied with red and black

lacquer and gilt in the face and black and blue pigment in the headdress. Her oval face,

aquiline nose, pursed lips, and delicately shaped downcast eyes make up her

benevolent expression. A circular impression on her forehead represents the urna, a

Buddhist mark signifying spiritual enlightenment. Elongated earlobes, another

Buddhist mark, symbolized overabundant generosity. Bodhisattvas and Kuan-Yin

figures were often adorned with jeweled earrings and other dazzling adornments, as

may have once been the case with this figure. A distinctive feature of Kuan-Yin is her

elaborate headdress—in this piece depicted by a triangular-shaped tiara, centered on

the image of Amitaba Buddha holding a bowl amongst foliate sprigs. The tiara is

delicately constructed piece by piece, held together by wiring exposed in some areas.

The hair is combed and tied up in a knot encircled by the large crown.

The Kuan-Yin is part of the Buddhist constellation of Bodhisattvas, devotees who have

attained enlightenment but traverse the earth to promote the teachings of Buddha.

Through divine example of guidance, the Bodhisattvas communicate with the people,

helping them cope with the difficulties of life and attain some measure of spiritual

cultivation. Thus, they have become popular subjects for representation, sometimes

combining their attributes with characterizations of indigenous deities or religious

beliefs. Kuan-Yin has a strong feminine presence in Chinese art as she is also referred

to as the Goddess of Mercy, named after her attributes of compassion and pity. - (H.

049)

Yu a n P a i n t e d Te r r a c o t t a H e a d o f a L o h a n

H.832 Collection: Chinese

Origin: China Medium: Painted Terracotta

Circa: 1264 AD to 1368 AD Location: United States

Dimensions: 10.5\" (26.7cm) high