After the collapse of the Tang Dynasty (906 AD), there was a succession of short-lived governments (known as the Five Dynasties). This period of unrest came to an end with the establishment of the Northern Song Dynasty in 960 AD. Renewed political stability helped to usher in a period of economic prosperity and a massive rise in population. Amongst the many cultural achievements of the Song Dynasty, the re- invigoration of the examination system and the invention of movable type rank highly. Intellectually the greatest achievement was the development of Neo-Confucianism- a philosophical movement heavily influenced by Buddhist teachings. Although Buddhism had reached China from India during the Han Dynasty, it took time for the new faith to make progress. This was partly because it had to compete with native ideologies, namely Confucianism and Daoism. It was possible, however, to find common ground between these belief systems and by the Tang Dynasty Buddhism was experiencing a golden age in China.

This magnificent pair of marble panels are carved in relief within a rectangular format. A seated bodhisattva is depicted in the central niche of each panel. Dressed in long flowing robes and celestial scarves, their drapery overlaps the ornately carved pedestals. Each figure performs a different mudra or hand gesture and gazes downwards symbolizing their meditative state. Bodhisattvas were compassionate individuals who delayed their own entry into Nirvana in order to help other sentient beings end the cycle of birth and rebirth. Buddhist texts do not specify their gender but it was towards the end of the Song Dynasty that Chinese artists began to accentuate their feminine characteristics. These panels are interesting as they reveal this transition in progress; whilst the facial features are still quite masculine the drapery and delicacy of the gestures are ambivalent. Both bodhisattvas are richly attired in ornate jeweled headdresses and bracelets. They are framed by two flame-like overlapping aureoles which reinforce their holiness. The bottom tier of each panel features six kneeling devotees with their hands clasped in prayer. Their devotions are directed towards a small altar-like table which supports a precious container. It is likely that this represents a reliquary, containing either relics of the Buddha himself or sacred texts (sutras).
The purely decorative areas of the panels are equally impressive. The detail is so intricate it is as if the surface of the stone has been treated like a richly woven tapestry. The upper two horizontal tiers feature stylized flowers and beaded swags. On the outer side of the vertical axis, birds and lions nestle in a pattern of dense foliage. The inner border is very unusual- at first sight it consists of large stylized flowers. However, closer inspection reveals that some of these feature the head and bust of a female. Together these panels testify to the vitality of Buddhist art during the Song Dynasty and would make a wonderful addition to any serious collection.