This superb monumental wooden statue of a standing Buddha dates from the Ming era. The carving of the drapery is exceptionally structured and complex, with layer upon layer of rippling fabric. The face is serene, with closed eyes, pursed lips, arched eyebrows and pendulous earlobes. His hair is in high relief, and is drawn back to effectively frame the face, formed from tight snail-shell curls which also cover the prominent ushnisha, symbolic of the Buddha’s spiritual wisdom. The facial expression is one of deep meditation, with closed eyelids and small pursed lips. The left hand is held just below the chest in a gesture of meditation. The right arm is held adjacent to the body, pointing towards the earth with the palm side visible. When the Buddha attained enlightenment, he reportedly used this gesture to summon the earth to bear witness to his victory over the seductive forces of illusion, and symbolises the Buddha’s power to bestow supreme accomplishments on his disciples. This magnificent sculpture is a testament to the high level of artistry prevalent among Ming craftsmen.

The Ming dynasty was one of the most important in China’s long history. It saw the toppling of the Yuan 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.