This imposing Dynamic Buddha dates from the second half of the Ming dynasty to the rise of the Qing dynasty.This period span the 15th to 17th centuries AD, and saw many of th most important developments in Chinese culture. Th Ming, founded in 1368 under the peasant emperor Hon Wu, was a militarily oriented socio-political entit much given to radical interpretations of Confucianis and with a very strong defensive ethos (the Great Wal dates to this period). However by the 17th centur cracks had started to appear, young male heirs bein manipulated as puppets by the ruling families, and th court became rotten with intrigue. To compoun matters, the Manchurian Chinese cities were bein attacked by local groups dubbed the Manchus wh eventually invaded China and deposed the old regime.
The last Ming emperor, Chongzhen, hanged himself o Coal Hill overlooking the Forbidden City, bringing a end to his 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was at odd with their liberality in certain social issues suc as forbidding the binding of womens feet (late withdrawn due to social pressure from the populace).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. This superb sculpture admirably portrays Amitabha in poise and serenity. He rests in padnasana (lotus) position, his hands folded together in palms-up position known as dhyana mudra. The face i exquisitely carved, the features carefully measure and harmoniously expressed. The face is framed b pendulous earlobes and hair pulled into a helmet-lik arrangement of tiny, serrated knobs. The drapery i extremely competent in its execution, describing roll of curved pleats running from the shoulders t the lap, the tunic-like garment encasing the arms dow to the wrist and concealing the legs. The patina i perfect, and the piece is in extremely good condition.
The Buddha in sharp contradistinction from the mor ornate Bodhisattva figures is plain and unadorned,
reflecting the simplicity and purity of the character. Indeed, the lack of ornamenta detailing increases the sensual impact and clean line of this remarkable carving. This is a truly wonderfu piece of ancient sculpture. As the Tathagata of Western Heaven, Amitabha appears in two forms. When he i in his form body (nirmanakaya), he appears in Buddha outlook. When he is i apparitional body (sambhogakaya), he appears in jewelled bodhisattva outlook an is addressed as Amitayus instead of Amitabha.