The M’ing dynasty was one of the most important in China’s long history. It saw the toppling of the Y’uan Mongol empire under Hong Wu, the third of only three peasants ever to become emperor in China. The leader of the peasants’ revolt that ushered in the M’ing dynasty, Hong Wu was an extremely brutal, ruthless dictator, whose creed was one of rabid Neo-Confucianism combined with a militaristic sense of China’s destiny and organisation. The one aspect of Confucius’ learning that he ignored was that declaring military institutions to be inferior to intellectual elites, and that the former should be under the latter’s thrall. A great deal was therefore spent on expanding the army, consolidating defences against attack by the Mongols and neighbouring groups, and in major defensive architecture – notably the Great Wall. The economy also came under scrutiny. Perhaps reflecting Hong Wu’s own humble origins, the economy came to emphasise agriculture over trade (which was deemed to be vulgar and parasitical by Confucianism), and provided safeguards for peasants. Negative outcomes included enormous inflation and devaluation of money and resultant social unrest. However, this period also saw enormous cultural strides, including the development of the novel, the introduction of duotone blue/white ceramics and a plethora of artistic and religious developments that is excellently embodied by the current sculpture.

Standing 41” high, this Buddha is of exceptional quality and poise. Sat in a lotus position with hands resting on the lap and the right knee, the Buddha is wearing pantaloons and a loose tunic that leaves the chest and forearms bare and which runs down to a loose gather of pleats along the lower limbs and between the legs. The tunic is tied at the waist with a thong, drawn tight and tied in a bow. Each sleeve displays a pleated gathering of cloth just above the elbow, and a large, plain bracelet adorns each wrist. The face has assumed an expression of studied tranquillity, with slightly pursed lips, lowered eyes under arched brows, and smooth, rounded cheeks. This is framed by highly textured hair, which reaches its apex at the supracranial eminence that is believed to reflect Buddha’s sagacity and wisdom, and elongated earlobes. The centre of the chest is decorated with a prayer wheel design. The quality and condition of this Buddha are stunning. In terms of aesthetic and social value, this is a truly exceptional specimen that would be the star of any context into which it were placed.