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CHINA, early Tang dynasty, 7th century
法国
12月11日 晚上9点 开拍 / 12月09日 下午3点 截止委托
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CHINA, early Tang dynasty, 7th century Rare, elegant Bodhisattva bust in light sandstone The high-relief bust depicts a Bodhisattva with bowed head, meditative serenity, half-closed eyes and delicately modeled lips. He wears a beaded headdress adorned with ribbons and a pendant necklace, his long locks falling to his chest. Remnants of a halo on the back of the head. The overall softness of the modeling still retains the foreign stylistic influences inherited from Gandhara and Gupta Indian art, typical of the early Tang workshops. 52 x 42 x 22 cm (Beautiful patinated surface, traces of erosion and burial, old restoration on the upper right) Provenance: Collection of Pascal Entremont (1958-2024), eminent gemologist and gem dealer. The piece was brought back to France by Entremont following a trip to Asia in the 1980s. Passed down through the generations. This remarkable bodhisattva bust, carved in light beige sandstone, belongs to the transitional phase between the end of the Sui (581-618) and the beginning of the Tang dynasty (618-907), a time of subtle balance when Chinese Buddhist sculpture, still nourished by foreign influences, gradually asserted a fully classical language. The inclination of the face, the half-closed eyelids and the slight inner smile convey a meditative interiority of great gentleness. The modelling still retains the linear finesse and stylization of forms inherited from the Sui period, while the soothed expression and fullness of volume herald Tang sculpture in its maturity. This combination of hieratic grace and nascent naturalism bears witness to a pivotal moment in the history of Chinese Buddhism, at the junction of Indian spirituality and Chinese sensibility. The beaded pendants, rosary necklace and high headdress adorned with twisted locks still evoke the prototypes of the Sui style, where linear elegance and decorative symmetry predominated. The slightly raised halo on the back of the head is reminiscent of early Tang votive compositions, where the figures remained partially attached to their architectural background. The sculpture thus combines the delicacy of line and density of modelling characteristic of 7th-century North Chinese workshops. The light beige sandstone used here is typical of the Tianlongshan caves, near Taiyuan (Shanxi province), one of the main centers of Buddhist sculpture production in northern China between the 6th and 8th centuries. Several bodhisattvas from this site, now dispersed in international collections, are executed in the same close-grained material and feature similar treatment of faces, headdresses and halos. It is highly probable that our bust comes from this ensemble, sharing its material, style and spirituality. A similar full-length sculpture, in the collections of the Penn Museum in Philadelphia (inv. C98), depicts a bodhisattva in three-quarter view, whose bust is very similar to ours. The same treatment of pendants and jewels, the beaded locks, the knotted headdress and the halo in background relief confirm the direct kinship of these two works and their belonging to the same stylistic horizon of the early Tang period.

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