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Expert’s note
By the early 18th century, Manchu rule over China had been firmly established. Nevertheless, the Qing emperors continued to face the fundamental question of how a Manchu dynasty should express and reinforce its legitimacy over a vast and culturally diverse empire.
Tibetan Buddhism played an important role in this process. Kangxi cultivated close relations with the Tibetan Buddhist establishment, a policy continued under Yongzheng and greatly expanded under Qianlong. Under Qianlong in particular, Tibetan Buddhism became an important element of Imperial representation. The Emperor presented himself not only as the Son of Heaven in the Chinese tradition, but also as a universal Buddhist ruler, and was closely associated with Manjushri.
The present figure should be understood within this early Qing context. It belongs to a distinct group of remarkably restrained Buddhist jade carvings. Their appearance is almost severe. Ornament is reduced to a minimum. The carving concentrates instead on two quintessential qualities: the natural beauty of the stone and the spiritual presence of the Buddha.
Both are particularly successful in the present figure. The carver has preserved and incorporated the beautiful natural russet veins of the celadon jade rather than attempting to suppress them. At the same time, the figure possesses a powerful and remarkably direct spiritual expression.
Later Qing Buddhist jade carvings generally became more elaborate and decorative, while the imperial workshops increasingly had access to exceptionally pure white and green nephrite. The restrained treatment, monumental conception, celadon tone, and deliberate use of the natural russet markings of the present jade are therefore consistent with an early 18th-century date. On stylistic grounds, a date of circa 1725-1740 appears most likely.
China. The Buddha is seated in dhyanasana with his hands held in dhyana mudra and adorned with bracelets, dressed in loosely draped robes falling gently over the body, open at the chest to reveal a waist-tied dhoti. The serene face bears a contemplative expression with downcast eyes, surmounted by whorls of hair, each rendered with a neatly incised spiral, and centered by a large, protruding urna framed by a border of lappets.
The stone is of a pale celadon-gray color, beautifully accented by natural russet veins and light gray patches.
Provenance: A private collection in New York, acquired before 1971. Christie's New York, 23 March 2012, lot 1803 (dated 18th-19th century), sold for USD 242,500 or approx. EUR 310,000 (converted and adjusted for inflation at the time of writing). The private collection of Jules Speelman, London, acquired from the above. Jules Speelman is a world-leading dealer and collector of East Asian art with 60 years of experience. In 1964 he joined his late father, Alfred, in the family business which already stretched back three generations to 19th century Holland and expanded into England around the turn of the century. Originally, A & J Speelman dealt with antiques, from European ceramics, silver, tapestries, and furniture to Chinese porcelain, and works of art. With his father, Jules gradually shifted the focus towards Asia and under Jules Speelman's skilled direction, A & J Speelman is now considered amongst the foremost dealers in Asian antiques, with a particular emphasis on figurative sculpture and works of art from the past 2000 years.
Condition: Excellent condition with minor wear and two apertures drilled underneath. The stone with natural fissures, some of which have developed into thin hairline cracks.
Weight: 1,911 g
Dimensions: Height 18 cm
During the Qing dynasty, Buddhist practice enjoyed renewed imperial patronage, particularly under the Kangxi, Yongzheng, and Qianlong emperors, whose personal devotion fostered the production of religious art on an unprecedented scale. This flourishing of Buddhist culture led to the creation of a wide range of devotional objects, including sculptures, ritual implements, vessels, and ceremonial furnishings. Imperial workshops employed a variety of precious materials for these works, among them jade, which was especially valued for its purity, durability, and long-standing symbolic association with virtue and refinement, however, Buddhist jade carvings of this size and quality are exceedingly rare.
Literature comparison:
Compare a closely related pale celadon and gray jade figure of seated Buddha, dated 18th century, 13.5 cm tall, in the Metropolitan Museum of Art, object number 02.18.461. Compare a related larger celadon jade figure of Buddha, dated 18th-19th century, 31.6 cm high, in the Cleveland Museum of Art, accession number 1915.352.
Auction result comparison:
Type: Related
Auction: Christie’s Hong Kong, 30 November 2020, lot 2902
Price: HKD 4,000,000 or approx. EUR 492,000 converted and adjusted for inflation at the time of writing
Description: A pale celadon jade carving of a seated Buddha, Qing dynasty, 18th century
Expert remark: Compare the closely related modeling, manner of carving, and size (18.5 cm). Note the stand.
Auction result comparison:
Type: Closely related
Auction: Christie’s Hong Kong, 27 November 2019, lot 2836
Price: HKD 1,750,000 or approx. EUR 221,000 converted and adjusted for inflation at the time of writing
Description: A greenish-white jade figure of seated Buddha, Qianlong period (1736-1795)
Expert remark: Compare the closely related modeling and manner of carving. Note the size (15 cm).
Auction result comparison:
Type: Closely related
Auction: Christie’s New York, 26 March 2010, lot 1112
Price: USD 134,500 or approx. EUR 181,000 converted and adjusted for inflation at the time of writing
Description: A white jade figure of Amitayus, Qianlong period
Expert remark: Compare the closely related modeling and manner of carving. Note the size (14.6 cm).
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