A Polychrome Sandstone Figure of a 'Sleeping Luohan' Southern Song Dynasty, 13th Century

carved in the form of a young luohan dressed in a bright red loose-fitting robe draping in folds over the legs and the pierced base, seated on a rock base in rajalilasana with his left knee raised and his right knee bent on the ground, his hands clasped around a post extending out from under his right arm, his round bald head resting on top of his hands, peacefully slumbering with his eyes closed, the details picked out in bright aquamarine, green and black pigments, the hollow rock base incised with an illegible inscription

A European aristocratic collection, acquired in China in the 1930s, before interned by the Japanese in China and returned to Europe after 1945.
By descent to his nephew.
Bonham's London, 12th May 2008, lot 78.

The sculpture is in extraordinarily good condition for a piece of its age, and it is especially rare to find a piece of this large size with extensive original pigmentation intact. As visible in the catalogue photo, there is minor surface wear and scratches, and rubbing to the pigments. The rock support that the luohan is leaning against at the back has a loss of approx 5cm. The inscription at the front is rubbed and difficult to decipher. The catalogue photo colours are darker than reality, and the shadows obscure the attractive blue pigments.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

It is remarkable to find a stone figure from the Song dynasty of such fine sculptural quality, and in such well-preserved condition, with most of the original pigments intact. The carver has depicted the tranquil expression of the luohan with the uttermost sensitivity and naturalism, utilising a gentle yet precise carving style. In contrast, the lining of the loose-fitted robe is boldly picked out with sharp geometric angles. The contrast highlights the naturalism of the details on the figure's facial features, notably the expression of the mouth, closed eyes and auspiciously long pendulous ears. The overall posture of the luohanwould have inspired reverence in the eyes of worshippers in the Song dynasty, and is still resonant today. It is a triumph of sculptural quality, and no other example of this form appears ever to have been offered at auction.  

For two Northern Song dynasty carved stone luohan of smaller size but closely related sculptural style, one depicted with a dragon, the other with a tiger, see Sherman Lee (ed.) China, 5000 Years: Innovation And Transformation In The Arts, Solomon Guggenheim Museum, New York, 1998, cat. no. 177. Discovered in 1980 at the Boshan Temple site in Fu county, Shaanxi, they are now preserved in the Shaanxi History Museum, Xian. Although they lack the original pigmentation of the current luohan, the sculptural depiction of the figures is very closely related, with similar rendition of the facial expression, gentle curves of the body and robes, and the distinct sharp geometric cuts on the robe's lining. The similarity of the carving style clearly points to them being carved at the same time, or certainly emanating from the same tradition of artisans carving for Buddhist temples and caves.

For another carved Song luohan in the Rietberg Museum, Zurich, illustrated by Karl With, Bildwerke Bildwerke Ost- und Su¿dasiens aus der Sammlung Yi Yuan, Basel, 1924, p. 62, which is also carved with similar contrasting style of gentle rendition of the facial features and sharp lines on the robes. It also shares the same distinct characteristic of the slumbering head resting on the hand. See also a pair of luohan in the Royal Ontario Museum, Toronto, illustrated by Osvald Siren, Histoire Des Arts Anciens de la Chine. III. La Sculpture De L' Époque Han a l'Époque Ming, Paris and Brussels, 1930, p. 115, pls. A and B; and another stone luohan depicted seated, not sleeping, but also with similar rendition of the facial features and robes, from the Collection of Geheimrat Brandt, Berlin, illustrated, ibid, p. 115, pl. D.