SEATED BODHIDARMA OR LUOHAN.

19th-early 20th century, China. Nephrite: light grayish yellow-green with minor gray markings. Built on an impressive scale (31 lb., 14 kg.) and sculpted with monumental simplicity, this jade image convincingly portrays a holy Buddhist figure. In facial and body type it conforms to the standard portrayals of Bodhidarma and bears a marked resemblance to the “Redrobed Bodhidarma” of the Kogakuji in Japan, in which the “robust, full-featured patriarch sits erectly, his- broad-shouldered figure emanating a strong psychological presence”, his face given a “treatment of minute details in a realistic manner…in the style of a Chinese chinso portrait” (Fontein, p. 49. #20). This unlabeled sculpture, however, also bears a resemblance to a number of late Ming-Qing images of luohan (also called rakan or arhat), disciples of the Buddha who have overcome the enemies of passion, hatred and ignorance (Smithies, p. 260). As illustrated in several of the grotto scenes in this Collection, the luohan may be depicted as a generic holy image, heavily robed with a full face, included as a member of a large set of similar, unidentifiable but certainly holy images. Often it appears as an identifiable single figure assigned a specific personal history, legends, associated attributes and vehicles, and physical appearance, or it may be included as a member of a set of identifiable luohan images, in either painting or free-standing sculpture. The type is established early, by the Song, and continues into the present day in both fine and folk art (Barling 2, p. 335, carved wood, with one knee down and one bent, as here; Wang, p. 111, #54, bamboo, mid-Qing; Markbreiter, cover photograph, modern Fukienese style sculpture; CNY 11/29/90, #196, a blanc de chine luohan with long necklace, trimmed beard, pendulous ears, and identical pose). Jade versions from the Qing are known (Keverne, p. 168, #99; Yang, p. 83, #4; and see Schedel, pp. 186-87, pl. 81, a “Buddha”), but few have the quality of stillness, and almost glowering intransigence, so eloquently depicted by this securely seated image. As is typical of many Qing and later sculptures, the fully-shaved head is disproportionately large, particularly noticeable here when compared with the size of the emerging foot. The pose of the legs is conveyed skillfully by the graceful arrangement of the soft outer robe, and the undergarment as it emerges into view on the lower torso is equally convincing. The string of rosary beads, held by the right hand and clinging to the surface of the material, is detailed with equal care. The remarkable face exhibits peculiar goateed beard fronds, deeply knit brows, staring eyes, pudgy cheeks and firmly-clenched mouth. The ears, set close to the head, are elongated, and there is almost no neck. The two-toned green material is well-polished overall. Reference: The Yangtze River Collection, Later Chinese Jades published by Helga Wall-Apelt, 1993. SIZE: 13.5″ x 9″ x 6″. (34.3 x 22.9 x 15.2 cm.) CONDITION: Stone with small fissures. Very good. 9-95016 (20,000-30,000) – Lot 16

Auction: FAAA - Wall-Apelt Collection - March 2015

Please Note: All prices include the hammer price plus the buyer’s premium, which is paid by the buyer as part of the purchase price. The prices noted here after the auction are considered unofficial and do not become official until after the 46th day.

Image	Lot	Price	Description
	16	$20,737.50	SEATED BODHIDARMA OR LUOHAN. 19th-early 20th century, China. Nephrite: light grayish yellow-green with minor gray markings. Built on an impressive scale (31 lb., 14 kg.) and sculpted with monumental simplicity, this jade image convincingly portrays a holy Buddhist figure. In facial and body type it conforms to the standard portrayals of Bodhidarma and bears a marked resemblance to the “Redrobed Bodhidarma” of the Kogakuji in Japan, in which the “robust, full-featured patriarch sits erectly, his- broad-shouldered figure emanating a strong psychological presence”, his face given a “treatment of minute details in a realistic manner…in the style of a Chinese chinso portrait” (Fontein, p. 49. #20). This unlabeled sculpture, however, also bears a resemblance to a number of late Ming-Qing images of luohan (also called rakan or arhat), disciples of the Buddha who have overcome the enemies of passion, hatred and ignorance (Smithies, p. 260). As illustrated in several of the grotto scenes in this Collection, the luohan may be depicted as a generic holy image, heavily robed with a full face, included as a member of a large set of similar, unidentifiable but certainly holy images. Often it appears as an identifiable single figure assigned a specific personal history, legends, associated attributes and vehicles, and physical appearance, or it may be included as a member of a set of identifiable luohan images, in either painting or free-standing sculpture. The type is established early, by the Song, and continues into the present day in both fine and folk art (Barling 2, p. 335, carved wood, with one knee down and one bent, as here; Wang, p. 111, #54, bamboo, mid-Qing; Markbreiter, cover photograph, modern Fukienese style sculpture; CNY 11/29/90, #196, a blanc de chine luohan with long necklace, trimmed beard, pendulous ears, and identical pose). Jade versions from the Qing are known (Keverne, p. 168, #99; Yang, p. 83, #4; and see Schedel, pp. 186-87, pl. 81, a “Buddha”), but few have the quality of stillness, and almost glowering intransigence, so eloquently depicted by this securely seated image. As is typical of many Qing and later sculptures, the fully-shaved head is disproportionately large, particularly noticeable here when compared with the size of the emerging foot. The pose of the legs is conveyed skillfully by the graceful arrangement of the soft outer robe, and the undergarment as it emerges into view on the lower torso is equally convincing. The string of rosary beads, held by the right hand and clinging to the surface of the material, is detailed with equal care. The remarkable face exhibits peculiar goateed beard fronds, deeply knit brows, staring eyes, pudgy cheeks and firmly-clenched mouth. The ears, set close to the head, are elongated, and there is almost no neck. The two-toned green material is well-polished overall. Reference: The Yangtze River Collection, Later Chinese Jades published by Helga Wall-Apelt, 1993. SIZE: 13.5″ x 9″ x 6″. (34.3 x 22.9 x 15.2 cm.) CONDITION: Stone with small fissures. Very good. 9-95016 (20,000-30,000) – Lot 16 Auction: FAAA - Wall-Apelt Collection - March 2015 Please Note: All prices include the hammer price plus the buyer’s premium, which is paid by the buyer as part of the purchase price. The prices noted here after the auction are considered unofficial and do not become official until after the 46th day.

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SEATED BODHIDARMA OR LUOHAN.