A RARE LIMESTONE VOTIVE STELE TANG DYNASTY, DATED 1ST YEAR OF THE TIAOLU REIGN (IN ACCORDANCE WITH 679) |

of rectangular section, the substantial slab carved with straight sides and a rounded upper edge, all resting sturdily on a rectangular plinth, one side centred with a main niche supporting a figure of Shakyamuni Buddha seated on a lotus base, flanked by Ananda and Kasyapa as well as two bodhisattvas, the upper section of the stele elaborately depicting a stupa resting atop a lion mask, the mythical beast portrayed suspending in its mouth tasselled garlands upheld by apsarases and dragons, the stupa engraved with the tian (sky) character, all atop a design of a pair of lions flanking an incense burner engraved to the lower section of the stele, each of the two shorter sides further carved with a Bodhisattva standing atop a lotus base within a niche, flanked by engraved votive inscriptions, the flat reverse similarly engraved with the characters Da Tang framed by dragons atop Buddha seated between two standing disciples, the sides of the rectangular plinth engraved with inscriptions, including one to the main side dating to the first year of the Tiaolu reign (in accordance with 679) and delineating the family members of the patron, Lady Li Tuanya, traces of green and red polychromy

L. Wannieck, Paris.
Sotheby's London,15th December 1987, lot 42.
Sotheby's London, 17th December 1996, lot 170.

Osvald Siren, Chinese Sculpture: From the Fifth to the Fourteenth Century, Paris and Brussels, 1926, vol. 4, pl. 509.

This rare stele is preserved in good condition, with the original form intact, and just small bruises and losses at the edges, as visible in the catalogue photo. Considerable traces of original pigments are still present, especially within the figural niches.
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Sensitively modelled with meticulous attention to detail and solemnly engraved with a devotional inscription, the present stele bears testimony to the development of Buddhist devotional art in China. It served as a vehicle for its fervent commissioner to accumulate merits and record their acts of devotion. With the dynamic growth of Buddhism in the fifth century, various regional devotional societies were formed across China which prompted unforeseen innovation in the production of religious art. Votive stone steles emerged as a new genre in the Buddhist sculptural repertoire that differentiates from monumental cave temple carvings.

The outstanding rendering of the religious imagery as seen on the present stele fully demonstrates the carver’s masterful skill in creating a solemn austerity appropriate for devotion whilst introducing a regional stylistic character. The sculptural quality of the full, rounded forms of the figures within the central niche beautifully contrasts with the rhythmic quality of the crisply modelled apsarases, beasts and the entwined swags of rope tassels framing the arched top. Although conforming to classic representations of veneration, the present stele demonstrates distinctive details, including the finely incised lions beside the incense burner beneath the central niche, which are usually sculpted in relief.

Compare a smaller stele dated to the third year of Yifeng period (corresponding to 678), of similar arched form and rendered with similar recumbent beasts though in low relief below the central niche, sold at Sotheby’s New York, 31st March/ 1st April 2005, lot 99. Another earlier stele dated to 595, with similar representations of the apsarases, is illustrated in Chinese, Korean and Japanese Sculpture in the Avery Brundage Collection, New York, 1974, pl. 69. See a further Tang-dynasty example included in the exhibition Ancient Chinese Sculptural Treasures: Carvings in Stone, Kaohsiung Museum of Fine Arts, Kaohsiung, 1998, pl. 64. Despite of a slightly smaller size, it draws close comparisons with the present piece in its composition, rendering of the figures and their style of drapery within the recessed niches, and the apsarases above in three-dimensional relief.

This stele was consecrated by Lady Li Tuanya, daughter of the famous Sui-dynasty military general Li Jing, alongside her family. The inscription on the main face of the pedestal can be translated as follows: Ardently dedicated by fervent Buddhist devotee Li Tuanya, daughter of Li Jing, who is in matrimony to Zhang. The lady of pure faith, Tuanya, led her family, (including) five sons namely Shenliang, Shenyi, Shenze, Shenhui, Shenfan, with two daughters namely Shenfei and Shenmiao, Liang’s wife Jiaya, and other collateral family members to pray and dedicate service to the Buddha for the benefit of paving their way to the Western Heavens. Established by the respected bhiksu monk Huigan for the benefit of all and made on the thirtieth day of the eighth month in the first year of Tiaolu (corresponding to 679).

On the right side, an inscription flanking the portrait of Li Shenfei reads:

Disciple of Buddha and lady of pure faith, Li Shenfei, reverently commissioned a figure of Avalokiteshvara with heavenly kings and celestial beings.

The inscription on the left, signed Zhao Sanjun, denoted that the stele had been adorned with heavy gold in the 2nd year of Shunzhi, yiyou year (corresponding to 1645).