PRINTPROVENANCE:
Sotheby's New York, 24th September 2004, Lot 51
Sotheby's New York, 24th September 2004, Lot 51
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A WHITE JADE FIGURE OF BUDDHA
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18th Century H: 19.5 cm |
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Estimate
1,600,000 - 2,400,000 431,000 - 647,000 55,100 - 82,700
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Sold Price
1,680,000 442,105 56,300
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Catalogue Note:
The very even white stone with a few minor blushes to the rear, carved as Buddha seated with hands in abhaya and varada mudra emerging from robes draped around the shoulders and leaving the chest bare, with the soles of the feet exposed in dhyanasana , the face with benevolent meditative expression flanked by large earlobes and framed by the hair indicated by rows studs around a plain domed usinsha.
This white jade vase is made of a complete boulder of high quality white jade, of flattened form, the baluster body rising from a stepped foot, the waisted neck surmounted by a lipped rim and flanked by a pair of mythical beast-mask handles each suspending a loose ring, finely carved in low relief to each side with imags of pine trees and cypresses, all between bands of phoenixes and lingzhi above the round foot and below the rim, the domed cover similarly decorated and surmounted by a plain finial, the softly polished stone of an even color with some icy-white inclusions.
Jade wares occupy a unique position in traditional Chinese culture, endowed with rich cultural connotations.
When the development of Chinese jade carving art reached Qing dynasty, the experience of both the exploitation of jade materials and the craftsmanship of carving had accumulated to a considerable extent. During Qianlong Period, it was because of Emperor Qianlong's preference that the development of jade craftsmanship was at its peak. At that time, a number of exquisitely crafted jade wares of excellent quality have been created; especially the carved jade used for court furnishings, which still cannot be surpassed till this day.
Jade ornaments have a great demand for raw materials and have high requirements for quality. Therefore, the source of jade guarantees the development of jade wares in Qing dynasty. Twenty-four years before the reign of Emperor Qianlong, the northwest was unstable, which affected the access to the raw materials of jade at that time. In the twenty-fourth year of the reign of Emperor Qianlong, the Qing Army consolidated its ruling over the northwest frontier and set up officials to incorporate Xinjiang into the jurisdiction of the central government. In the twenty-five year of Qianlong, a formal tribute jade system was formed. In Spring and Autumn, jade was brought to the imperial court. At its peak, the Qing court receives 300,000 pounds of jade each year.
The Beijing Yangxin Dian production office and the Imperial Household Department were directly responsible for making jade wares for The Qing court, while in the South Suzhou Zhuxiang is the best-known one; Yangzhou Yuzu was famous for carving large jade pieces. In the Qing dynasty, jade craftsmen were adept at drawing and carving on jade, collecting various traditional techniques, also absorbing the influence of foreign art, which has created a jade carving art with obvious characteristics of the times and high artistic value. It had transformed the elegant aesthetics of the literati in the Song, Yuan and Ming dynasties into rich and refined decorative styles of the Qianlong period.
Jade was used for almost all the daily objects produced by Qing court. At that time, craftsmen not only inherited the art of ancient jade carvings, but also created different styles of decorative features, so that the jade carving crafts reached its heyday, leaving enough relics to today's world.
This white jade vase is made of a complete boulder of high quality white jade, of flattened form, the baluster body rising from a stepped foot, the waisted neck surmounted by a lipped rim and flanked by a pair of mythical beast-mask handles each suspending a loose ring, finely carved in low relief to each side with imags of pine trees and cypresses, all between bands of phoenixes and lingzhi above the round foot and below the rim, the domed cover similarly decorated and surmounted by a plain finial, the softly polished stone of an even color with some icy-white inclusions.
Jade wares occupy a unique position in traditional Chinese culture, endowed with rich cultural connotations.
When the development of Chinese jade carving art reached Qing dynasty, the experience of both the exploitation of jade materials and the craftsmanship of carving had accumulated to a considerable extent. During Qianlong Period, it was because of Emperor Qianlong's preference that the development of jade craftsmanship was at its peak. At that time, a number of exquisitely crafted jade wares of excellent quality have been created; especially the carved jade used for court furnishings, which still cannot be surpassed till this day.
Jade ornaments have a great demand for raw materials and have high requirements for quality. Therefore, the source of jade guarantees the development of jade wares in Qing dynasty. Twenty-four years before the reign of Emperor Qianlong, the northwest was unstable, which affected the access to the raw materials of jade at that time. In the twenty-fourth year of the reign of Emperor Qianlong, the Qing Army consolidated its ruling over the northwest frontier and set up officials to incorporate Xinjiang into the jurisdiction of the central government. In the twenty-five year of Qianlong, a formal tribute jade system was formed. In Spring and Autumn, jade was brought to the imperial court. At its peak, the Qing court receives 300,000 pounds of jade each year.
The Beijing Yangxin Dian production office and the Imperial Household Department were directly responsible for making jade wares for The Qing court, while in the South Suzhou Zhuxiang is the best-known one; Yangzhou Yuzu was famous for carving large jade pieces. In the Qing dynasty, jade craftsmen were adept at drawing and carving on jade, collecting various traditional techniques, also absorbing the influence of foreign art, which has created a jade carving art with obvious characteristics of the times and high artistic value. It had transformed the elegant aesthetics of the literati in the Song, Yuan and Ming dynasties into rich and refined decorative styles of the Qianlong period.
Jade was used for almost all the daily objects produced by Qing court. At that time, craftsmen not only inherited the art of ancient jade carvings, but also created different styles of decorative features, so that the jade carving crafts reached its heyday, leaving enough relics to today's world.