Compare a related example, attributed to the Tang dynasty, with similarly styled hair whorls, the robe with a similar border of incised undulating lines, also draped over the foot in the same fashion, raised on a base of related design, illustrated in Saburo Matsubara, Chinese Buddhist Sculpture: A Study Based on Bronze and Stone Statues other than from Cave Temples, Tokyo, 1966, pl. 294a, and another related example, ibid., pl. 266d. Another similar example, attributed to the Tang period, although smaller and without a base, was in the collection of James Marshall Plumer (1899-1960), and sold in these rooms, 18th-19th March 2014, lot 176. Compare as well a figure still with its mandorla and further raised on a squared openwork base, in the Asian Art Museum of San Francisco and illustrated Hai-Wai Yi-Chen. Chinese Art in Overseas Collections. Buddhist Sculpture, vol.1, Taipei, 1986, pl. 81; and another, attributed to the 8th century, from the collection of Peng Kai-dong and now in the National Palace Museum, Taipei, illustrated in Lee Yu-ming and Chung Tzu-yin, Imprints of the Buddhas: Buddhist Art in the National Palace Museum Collection, Taipei, 2015, cat. no. 22. In these two figures one can clearly see the intended use of the apertures for the insertion of mandorlas. Another closely related figure, similarly cast in all aspects save for an exposed proper right shoulder, once in the collections of A.D. Brankston, Mrs. W.H. Roberts, and Dr. Ip Yee, was sold first in our London rooms 15th December 1981, lot 29, and again in our Hong Kong rooms, 19th November 1984, lot 17.
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