This imposing Bodhisattva dates from the
dynamic period surrounding the collapse of the
M’ing Dynasty and the rise of the Q’ing, in the
second half of the 17th century. The M’ing,
founded in 1368 under the peasant emperor
Hong Wu, was a militarily oriented socio-political
entity much given to radical interpretations of
Confucianism and with a very strong defensive
ethos (the Great Wall dates to this period).
However by the 17th century cracks had started
to appear, young male heirs being manipulated
as puppets by the ruling families, and the court
became rotten with intrigue. To compound
matters, the Manchurian Chinese cities were
being attacked by local groups – dubbed the
Manchus – who eventually invaded China and
deposed the old regime. The last M’ing emperor,
Chongzhen, hanged himself on Coal Hill
overlooking the Forbidden City, bringing an end
to his line and ushering in the Q’ing dynasty.
The Q’ing had been founded by Nurhaci in the
early 17th century, and persisted until the
collapse of imperial China in 1912 with the
hapless Pu-Yi, the last emperor of China. Their
isolationist policies, social control (all men
required to shave their heads, wear queues, and
wear Manchu rather than traditional Chinese
dress) introspection and cultural conservatism
was at odds with their liberality in certain social
issues – such as forbidding the binding of
women’s feet (later withdrawn due to social
pressure from the populace). However, this
cultural inflexibility – which grew as the
emperors grew increasingly unaware of the world
outside their palace walls, much less the
country’s borders – was a difficult stance to
maintain in the shadow of the European
thalassocracies, and it may have been this which
helped hasten the demise of the Imperial system.
The M’ing and the Q’ing dynasties were highly
creative times, seeing the appearance of the first
novels written in the vernacular, considerable
development in the visual arts and outstanding
craftsmanship in all fields. The present sculpture
is a case in fact, and it is perhaps somewhat
disarming to reflect that this peaceful figure
dates from a period of such spectacular turmoil.
Samantabhadra Bodhisattva – also known as the
Universally Worthy Bodhisattva – is one of the
Three Venerables of Shakyamuni. As the most
important of the triumvirate, this bodhisattva is
always on the right of Shakyamuni Buddha,
representing the guardian of the Law, the lord of
the Law and the practice of all Buddhas.
Samantabhadra is the patron of the Lotus Sutra
and its devotees, and has close connection with
the Avatamsaka Sutra. The figure is always
depicted sitting atop an elephant, possibly as a
reflection of the latter’s longevity, patience and
sagacity, all qualities the Samantabhadra is said
to share.
The right hand is in a position referred to as
vitarka mudra, a gesture reflecting
communication and explanation. The other hand
rests on the lap in a relaxed pose of varada
mudra. The face is rounded, impassive and
collected. The elephant is recumbent: the
Bodhisattva’s right foot is touching the ground
and the sole of the left foot is pressed against
the right thigh. The drapery – a tunic, scarves
and a longer cape-like garment – is delicately
carved and hangs gracefully from the shoulders,
across the elephant’s back, and even down to the
base of the incorporated pedestal base upon
which the sculpture sits. The Bodhisattva is
highly decorated, with a very ornate necklace,
bracelets and an incredibly tall and flamboyant
crown that more than doubles the height of the
head. The hair is arranged in ringlets around the
crown’s perimeter. The elephant is wearing a
harness around the face, and displays the small
ears typical of the Indian pachyderm variety. The
trunk is swept back to the animal’s right, and the
eyes are inlaid with glass. The patina is excellent,
the detailing finely carved and the condition
excellent. This is a beautiful and uncommon
piece that merits a place in any serious collection
of Eastern art, but would be equally impressive
in
a domestic setting.
