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Nepalese-Chinese-style bodhisattva (lacquer, cloth, traces of blue, gold
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Nepalese-Chinese-style bodhisattva (lacquer, cloth, traces of blue, gold
3533789 Nepalese-Chinese-style bodhisattva (lacquer, cloth, traces of blue, gold, and green paint & gold leaf) by Chinese School, Yuan Dynasty (1279-1368); 58.5x43.3x29.5 cm; Freer Gallery of Art, Smithsonian Institution, USA; (add.info.: Made in China, the style of this bodhisattva (enlightened being) is Nepalese, while the lacquer technique is Chinese. In the thirteenth century, the Mongol ruler Khubilai Khan (1215-1294) invited eighty Nepalese artist-monks to China to construct and adorn a monastery. One of the artists, the renowned Aniko, remained in China and founded the workshop in which this bodhisattva was undoubtedly made. The lacquer technique used is the " dry lacquer" technique, in which several layers of lacquer-impregnated cloth are arranged over a rough clay core and the finishing details are modeled in a paste-like lacquer mixture. Thin iron rods help support fragile parts. When the lacquer dries, the clay core is removed, leaving an exceptionally light sculpture for its size. This image was once painted and gilded, but only traces remain.); Freer Gallery of Art, Smithsonian Institution; Purchase - Charles Lang Freer Endowment; Chinese, out of copyright
Media ID 22727746
© Freer Gallery of Art, Smithsonian Institution Purchase - Charles Lang Freer Endowment / Bridgeman Images
Bodhisattva Buddhism Buddhist Compassion Compassionate Gesture Mudra Nepalese
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This print showcases a remarkable Nepalese-Chinese-style bodhisattva, created during the Yuan Dynasty (1279-1368). Measuring 58.5x43.3x29.5 cm, this exquisite sculpture is housed in the Freer Gallery of Art at the Smithsonian Institution in the USA. The unique fusion of artistic styles is evident in this masterpiece. While the bodhisattva's style reflects its Nepalese origins, the lacquer technique used to create it is distinctly Chinese. The creation of this bodhisattva can be traced back to an interesting historical event - when Mongol ruler Khubilai Khan invited eighty talented artist-monks from Nepal to China for constructing and embellishing a monastery. Among these artists was Aniko, who stayed behind and established a workshop where this magnificent piece was undoubtedly crafted. The "dry lacquer" technique employed involves layering lacquer-soaked cloth over a clay core and sculpting intricate details with a paste-like mixture of lacquer. Thin iron rods were strategically placed within fragile sections for added support. Once dried, the clay core was removed, resulting in an exceptionally lightweight sculpture considering its size. Although time has faded much of its original glory, traces of blue, gold paint, green paint, and gold leaf still hint at its former splendor. This photograph captures not only the beauty but also tells us about centuries-old cultural exchanges between Nepal and China that have left an indelible mark on art history.
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