Asian Works of Art

The well-potted porcelain with rich glossary surface, the Bodhisattva Avalokiteshvara identified by the seated image of the Buddha Amitabha in her headdress, embodies infinite Buddhist compassion, all above her meticulously carved hair, serene facial expression with the necklace, and flowing robe, the figure gracefully standing on the top of scrolling form waves, "Sunjiang Shanren" four-character seal mark to the back, also a "Xing" mark on the wave.

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Pale as snow and glossy as jade, Dehua porcelain sculpture is renowned for these distinctive qualities. The Bodhisattva Guanyin has been one of the most important icons of Dehua porcelain, playing a significant role in both palace and non-imperial contexts during the Ming (1368-1644) and Qing (1644-1912) dynasties. The style and techniques of the Dehua kiln have evolved during the 17th century with the shift in regimes. Generally, early works from the Ming dynasty appear more solidly modeled, while those from the Qing dynasty exhibit a touch of ethereal elegance. In addition to political factors, advancements in manufacturing played a major role in execution. According to a prevalent theory, craftsmen from the Ming dynasty typically used a wood core as a foundation, applying a thick layer of paste. As a result, the mark of the wood core would be left inside the hollowed body. Qing dynasty craftsmen replaced the wood core with a mold, resulting in thinner and lighter sculptures. The present Guanyin, with its dense body but graceful form, combines features from both periods, suggesting it was likely crafted during the transitional period.

"Sunjiang Shanren" mark (Hermit of Sun River) refers to the art name of the literati craftsman Sun Xiahu (1627-1707), who was also recorded as a scholarly general. P. J. Donnelly places the potter in the second half of the seventeenth century in his book Blanc de Chine (London, 1969, p. 283). In Blanc de Chine: The Great Porcelain of Dehua (Berkeley, 2002, p. 139), Robert H. Blumenfield discusses this late Ming dynasty potter and notes that the 'Hermit of the Hui (Sun) River' excelled at sculpting Buddhist figures. Among figural sculptures with similar marks in museums and important private collections, Guanyin and Luohan are the most popular subjects. Most of these figures are depicted standing on cloud scrolls, waves, or seated on rockwork. The detailing, particularly of the drapery, is masterfully modeled and carved. For comparison, a seated Bodhidharma sculpture (No. 新00083671) in the Beijing Palace Museum with almost identical marks of Sunjiang Shanren is dated to the Ming dynasty. Another delicate standing sculpture of Dongfangshuo in the same museum also bears this seal mark. A figure of Damo with a similar seal mark was sold at Sotheby's London, November 5, 2008, lot 335.

白如雪，凝如玉，德化瓷塑以其精緻聞名遐邇。明清兩朝以降，德化窯觀音以其慈悲之法相獨愛於官民眾生。是類藝術表達更迭於17世紀，明作德化常顯厚重端莊之神態，而有清一代作品則更為輕盈飄逸。雖暗合於皇權交替，然技藝之突進不可不察。世說明德化慣以圓木為芯，其上施以貼泥，故而腔內常遺留渾圓孔洞。清工匠則易木為模具，致使成品更為輕巧可人。是次呈現之觀音，集二世之長，論其造於明清之際應無疑矣。

“筍江山人”款識（筍江隱士）應為孫夏瑚（1627-1707）專有，其人詩書皆富養，實為飽學之匠人，易有史考其為武德將軍者。P. J. Donnelly在Blanc de Chine (London, 1969, p. 283)一書中將此款識作者斷代於十七世紀下半葉。Blanc de Chine: The Great Porcelain of Dehua (Berkeley, 2002, p. 139)一書中，Robert H. Blumenfield不吝美言，盛讚此明末筍江山人藝伎冠絕。管窺今世館藏或重要私藏攜此款識之造像，觀音及羅漢形象佔比至高，工匠偏愛之情可見一斑。其形或立於祥雲海浪，或禪修於岩間。其功夫尤見於長袍抹胸處，寥寥數刀，卻精准無比呈現明清衣著之美，蓋無出其右者矣。類似者可參見北京故宮一樽達摩坐像（編號：新00083671），其背後印文幾乎同於是次拍品，斷代為明。同為館藏的另一件東方朔人物亦有此款，且工藝極細。另見一樽達摩造像於2008年11月5日釋出於倫敦蘇富比，拍品編號335。