This imposing Luohan figure dates from the dynami period surrounding the second half then collapse o the Ming Dynasty, and the rise of the Qing. Thi period spans the 15th to 17th centuries AD, and sa many of the most important developments in Chines culture. The Ming, founded in 1368 under the peasan emperor Hong Wu, was a militarily oriente socio-political entity much given to radica interpretations of Confucianism and with a very stron defensive ethos (much of the Great Wall dates to thi period). However by the 17th century cracks ha started to appear, young male heirs being manipulate as puppets by the ruling families, and the cour became rotten with intrigue. To compound matters, th Manchurian Chinese cities were being attacked by loca groups dubbed the Manchus who eventually invade China and deposed the old regime. The last Min emperor, Chongzhen, hanged himself on Coal Hil overlooking the Forbidden City, bringing an end to hi line and ushering in the Qing dynasty.
The Qing was founded by Nurhaci in the early 17t century, and persisted until the collapse of imperia China in 1912 with the hapless Pu-Yi, the last empero of China. Their isolationist policies, social contro (all men required to shave their heads, wear queues,
and wear Manchu rather than traditional Chinese dress)
introspection and cultural conservatism was at odd with their liberality in certain social issues suc as forbidding the binding of womens feet (late withdrawn due to social pressure from the populace).
However, this cultural inflexibility which grew a the emperors grew increasingly unaware of the worl outside their palace walls, much less the country borders was a difficult stance to maintain in th shadow of the European thalassocracies, and it ma have been this which helped hasten the demise of th Imperial system.
The Ming and the Qing dynasties were highly creativ times, seeing the appearance of the first novel written in the vernacular, considerable development i the visual arts and outstanding craftsmanship in al fields. The present sculpture is a case in fact, an it is perhaps somewhat disarming to reflect that thi peaceful figure dates from a period of suc spectacular turmoil. In Theravada Buddhism, the Arhat, Arahat or Arahan (translated into Chinese as Luohan) is one who ha followed the Eightfold Path and has achieve deliverance of this earthly existence. He has reache "the other shore" and is saved for all eternity. I him the asavas ignorance, earthly existence and th craving for sensual pleasures are absent. He i subject to no more rebirths and karma. Luohans ar renowned for their great wisdom, courage an supernatural power. Due to their abilities to ward of the evil, Luohans have became guardian angels of th Buddhist temple and there in the main hall standin guard are the ever-present, indomitable-looking 1 Luohan figures, sometimes accompanied by 500 or mor lesser Luohans. The present example depicts the seated figure of Buddhist saint or possibly the youngest of Sakiamuni' disciples, Ananda, resting on a rock pedestal. Th figure is of a well-nourished man of mature years,
with a glabrous, polished head and elongated earlobe hanging almost to shoulder level. He is dressed in long tunic with very well carved drapery, one leg ben inward on the stand, the other pointing down. Th right hand is raised in vitarka (teaching) mudra, th other rested almost casually on the left leg. Th figure has a beautiful, dark patina that perfectl complements its stately yet slightly louche demeanour.
This is a charming and amusing figure in goo condition, and would be an excellent addition to an collection.