A LARGE GRAY STONE FIGURE OF A SEATED LION NORTHERN WEI DYNASTY

powerfully modeled, the muscular beast seated on its haunches on a rectangular base with forelegs outstretched and long tail curled up over its back, the head with fierce expression, the mouth open in a roar below glaring eyes, all framed by a curling beard and swept-back mane, tufts of fur carved to the shoulders and chest, the stone of mottled gray-buff color

Galerie C.T. Loo & Cie, Paris.
J.T. Tai, New York.
Sotheby's New York, 3rd June 1985, lot 25.

Loo Family Photographs, Freer Gallery of Art and Arthur M. Sackler Gallery Archives.

With wear typical of age, including considerable wear to three of the paws, the top of the head, and the left side of the mane and face. With rough-hewn edges around the right and back edges of the base, and to the portion behind the lion. The right hand posterior of the base with old epoxy residue. Two old labels adhered to the underside of the base.
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 magnificent stone beast belongs to a special group of carvings from the Northern Wei period that stems from the Han dynasty tradition of placing pairs of animals to line the Spirit Road leading to important tombs. While this lavish tradition was abandoned during the Northern Wei, due to both economic and social reasons, large stone sculptures of animals, such as the present piece, began to appear in Buddhist shrines and temples, where they were used as architectural supports. For a discussion on Northern Wei sculptures of animals, see Ann Paludan, The Chinese Spirit Road, New Haven, 1991, pp 52-83, where she notes that some elements of ancestors worship were adopted by Buddhist patrons; hence the construction of many Buddhist shrines dedicated to ancestors.

Compare a pair of slightly larger stone lions, believed to have come from the Longmen cave complex, from the collection of A.W. Bahr, illustrated in Osvald Sirén, Chinese Sculpture from the 5^th to the 14^th Century, New York, 1970, pls 115A and 115B; and a smaller example sold in these rooms, 19th March 1997, lot 162.

The present sculpture was amongst the Chinese artifacts that showcased the exquisite collection of the Pagoda in Paris that served as the home of Galerie C.T. Loo & Cie., belonging to the collector and dealer C.T. Loo (Ching Tsai Loo 1880-1957) (fig.1). Pagoda Paris remains a landmark in the 8th district of Paris, adjacent to the Parc Monceau. It was purchased by Loo in 1925, who with the help of the prominent architect Fernand Bloch, transformed the building into a Chinese-style pagoda, the exterior painted in deep red. Its interior was lavishly decorated with lacquer panels from Shanxi that paid homage to Loo’s birthplace and heritage. C.T. Loo to this day remains one of the most renowned collectors and dealers of the early 20th century, who was active from the 1910s to the 40s. Loo helped create Chinese art collections for the elite, such as the Morgans and the Rockefellers, but also supplied to top museums and institutions including the Metropolitan Museum of Art, New York, and the Museum of Fine Arts, Boston. The present magnificent stone lion is representative of Loo’s fine and impeccable taste.