BODHIDARMA RIDING ON WAVES.

Late 19th-early 20th century, China. Nephrite: light greenish-gray. An Indian Buddhist who came to China in the sixth century a.d., during the formative years of Chinese Buddhism, Bodhidarma’s life, legend, and influence upon East Asian religion have been the subject of many books. The twenty-eighth and last patriarch of the Indian Buddhist school, he became known as the first Chinese Buddhist Patriarch, and the founder of Chan, or Zen, Buddhism. One of the favorite images in East Asian religious art, this religious leader appears in a variety of situations based on both his actual biography and on the legends which have built up about him. Bodhidarma, or “Damo”, as he is known in Chinese (“Daruma” in Japanese) often is portrayed in his role as patriarch, accepting disciples or handing over the reins of religious leadership to the next generation. Another common pose finds him sitting in meditation, directly facing the viewer or – reflecting the physical circumstances of a popular legend – turned to face a cave wall in meditation, a practice he is said to have continued for nine years. This jade sculpture portrays the famous figure in one of the popular legendary scenes associated with his life, that’s titled “Bodhidarma Crossing the Yangtze on a Reed”. Said to date back to the 13th century, this theme has been represented in diverse media, including Dehua ceramics, textiles, paintings, and hardstones (Fontein, #22, pp. 53-6). At times, as here, the reed is absent, and the patriarch seems to skim across the roiling waves directly and with the greatest of ease, his movement conveyed by his robes sweeping off to one side. Whatever the pose or situation, there are certain factors related to physiognomy and body type which are routinely associated with Bodhidarma in the art of later periods. The patriarch, being of lndian origin, usually is given a non-Chinese appearance including a heavy, jowly face with a low stubble or shaped short beard and elongate earlobes (a feature borrowed from images of the Buddha) from which large loop earrings may be suspended. Protruding, staring eyes are set deeply under heavy eyebrows, and the relatively squat, often hairy-torsoed, body is enveloped in a full robe which may be extended to cover his head. The imposing head may be either partially (as here) or fully shaved. The facial expression varies only slightly, from introspective to “truculent” (Fontein, p. 51), and at no time is the figure physically attractive, although his powerful personality is conveyed convincingly. Associated attributes may include discarded straw sandals, rush mats, rosary beads, or bowing acolytes. In this slightly polished, flat-based and uniformly-toned jade portrayal of Bodhidarma, the severe-looking figure skims across the carefully delineated roiling waves. To convey motion and weight, the jade carver has undercut the waves and robe deeply. The relatively slim figure (a Chinese mode adopted in Ming and Qing art, including Dehua porcelain portrayals: Scott, p. 68, #38; Chait, p. 3) stands securely on the waves, his arms folded under the robe, and his face staring out at the viewer. Facial features are clearly and crisply depicted, and there is extensive drill work used to portray the curling locks rimming the ear and neck. Reference: The Yangtze River Collection, Later Chinese Jades published by Helga Wall-Apelt, 1993. SIZE: 10.5″ x 3.25″ x 2.75″. (26.7 x 8.3 x 7 cm.) CONDITION: Very good. 9-95002 (5,000-7,000) – Lot 6

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
	6	$13,585.00	BODHIDARMA RIDING ON WAVES. Late 19th-early 20th century, China. Nephrite: light greenish-gray. An Indian Buddhist who came to China in the sixth century a.d., during the formative years of Chinese Buddhism, Bodhidarma’s life, legend, and influence upon East Asian religion have been the subject of many books. The twenty-eighth and last patriarch of the Indian Buddhist school, he became known as the first Chinese Buddhist Patriarch, and the founder of Chan, or Zen, Buddhism. One of the favorite images in East Asian religious art, this religious leader appears in a variety of situations based on both his actual biography and on the legends which have built up about him. Bodhidarma, or “Damo”, as he is known in Chinese (“Daruma” in Japanese) often is portrayed in his role as patriarch, accepting disciples or handing over the reins of religious leadership to the next generation. Another common pose finds him sitting in meditation, directly facing the viewer or – reflecting the physical circumstances of a popular legend – turned to face a cave wall in meditation, a practice he is said to have continued for nine years. This jade sculpture portrays the famous figure in one of the popular legendary scenes associated with his life, that’s titled “Bodhidarma Crossing the Yangtze on a Reed”. Said to date back to the 13th century, this theme has been represented in diverse media, including Dehua ceramics, textiles, paintings, and hardstones (Fontein, #22, pp. 53-6). At times, as here, the reed is absent, and the patriarch seems to skim across the roiling waves directly and with the greatest of ease, his movement conveyed by his robes sweeping off to one side. Whatever the pose or situation, there are certain factors related to physiognomy and body type which are routinely associated with Bodhidarma in the art of later periods. The patriarch, being of lndian origin, usually is given a non-Chinese appearance including a heavy, jowly face with a low stubble or shaped short beard and elongate earlobes (a feature borrowed from images of the Buddha) from which large loop earrings may be suspended. Protruding, staring eyes are set deeply under heavy eyebrows, and the relatively squat, often hairy-torsoed, body is enveloped in a full robe which may be extended to cover his head. The imposing head may be either partially (as here) or fully shaved. The facial expression varies only slightly, from introspective to “truculent” (Fontein, p. 51), and at no time is the figure physically attractive, although his powerful personality is conveyed convincingly. Associated attributes may include discarded straw sandals, rush mats, rosary beads, or bowing acolytes. In this slightly polished, flat-based and uniformly-toned jade portrayal of Bodhidarma, the severe-looking figure skims across the carefully delineated roiling waves. To convey motion and weight, the jade carver has undercut the waves and robe deeply. The relatively slim figure (a Chinese mode adopted in Ming and Qing art, including Dehua porcelain portrayals: Scott, p. 68, #38; Chait, p. 3) stands securely on the waves, his arms folded under the robe, and his face staring out at the viewer. Facial features are clearly and crisply depicted, and there is extensive drill work used to portray the curling locks rimming the ear and neck. Reference: The Yangtze River Collection, Later Chinese Jades published by Helga Wall-Apelt, 1993. SIZE: 10.5″ x 3.25″ x 2.75″. (26.7 x 8.3 x 7 cm.) CONDITION: Very good. 9-95002 (5,000-7,000) – Lot 6 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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BODHIDARMA RIDING ON WAVES.