An outstanding carved sandstone figure of Buddha Tang Dynasty, 8th Century

the robust figure boldly conceived in the round with full volumes visible under the thin robes, the deity standing upright on long slender legs with the left arm bent up at the elbow and the right arm held loosely down to grasp the folds of his diaphanous robes in the elongated and finely shaped fingers, the folds of the robes all finely delineated in rhythmic draped swathes curling around the bent left arm and draped down across the body to a short tuck at the waist, and left loosely draped down along the right arm leaving the stylized rounded volumes of the chest bare, the head held up on the thick neck, the features finely carved with arching brows, large bow-shaped eyes, small nose, and tight bud mouth with bow shaped lips, flanked by large ears with pendulous earlobes and framed by the hair with high domed ushnisha, the folds of the hair depicted in undulating scalloped waves, progressing around the head in rhythmic pattern, leaving a tight whorl in the center representing the urna, the pinkish grey sandstone now exhibiting an even and glossy patina with ample traces of white undercoat, red and gold pigments with accents of blue and black (stand)

Otto W. Burchard, Berlin.
Sotheby's London, 21st June 1983, lot 69.
The Chinese Porcelain Company, New York, 1991.
Sotheby's New York, 18th September 1996, lot 273.

Ancient Asian Sculpture, The Chinese Porcelain Company, New York, 1991, cat.no.13.

In good overall condition with traces of gesso and polychromy, particularly on the drapery. The face with traces of black pigment showing a mustache and pupils. UV light reveals fluorescence around parts of the neck, suggesting that the body and neck are associated. Some shallow chips to the edge of the drapery on the buddha's right side. A small rectangular cavity to the back of the head, perhaps an aperture to affix it to a wall. The right ring and pinky fingers broken and restuck, with a minor chip on the end of the left wrist. updated 23 February 2009
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

This figure is remarkable for the subtle representation of the drapery, especially where the garment is picked up by the Buddha's hand. It is very rare to find a standing figure of similar style and quality, although several seated Buddha figures are closely related, particularly one in the Art Institute of Chicago, dated in accordance with AD 706, and another in the Shôdo Hakubutsukan, dated in accordance with AD 711, both illustrated in Hai-wai yi-chen/Chinese Art in Overseas Collections: Buddhist Sculpture, vol.2, Taipei, 1990, pls.102 and 103.

Compare also a Buddha head from the Longmen Caves in the Osaka Municipal Art Museum, included in the Museum's exhibition Chinese Buddhist Stone Sculpture: Veneration of the Sublime, Osaka, 1995, cat.no.56, which is very similar in style, also not carved fully in the round but backing onto a wall.