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| Budai wishes everyone a Happy 2016! |
Often the objects I collect have
a strange or outlandish quality to them, an edge that greatly appeals to me.
Chinese antiques fall naturally into this category, with their numerous
dragons, bats, demons, and intricate carvings that age has dimmed and
transformed.
For the first post in 2016, I decided to present two small
statuettes that are outstanding instead for their visual charm. Chinese statues
form a large field, and while museums feature those made of bronze, stone or
polished hardwoods, I am most attracted to those made from painted wood.
The slightly muted colors of
red, orange, yellow and green, often accented with gold, are familiar on these
statues, the colors becoming even more subdued as the figures stand on altars
and are exposed to the smoke of burning incense. The two statues below are
small, about three or four inches high, and carved from fragrant softwood,
perhaps some form of cedar.
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| (As always, click on images to enlarge.) |
Above is a diminutive figure of
Budai, often known as the Laughing Buddha. This fat, bald, smiling character is
often shown with many small children upon him, and as such is one of the
mainstays of Chinese decoration. Because of his name and appearance he is often
confused or combined with a number of Buddhist deities.
The carving in this piece has
a naïve, folk-like style. His back is straight, but he is also leaning at an
odd angle, making him difficult to photograph effectively. Chinese statues
often have decorated bases, but the simple band, as seen from the side, evokes
the tree branch from which it is carved, and is appropriate for the simple monk's
life led by the original Budai.
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| The name Budai literally means Cloth Bag, and this bag containing his few possessions is typically shown at his side, as it is here, highlighted in swirled red and yellow. |
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| The back of the figurine features Budai’s bald head and yellow robe. |
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| The bottom of the statuette, showing the texture of the soft wood. |
The appeal of the following statue of a child derives from the skill and sophistication of its carving. Children are common subjects in Chinese art, although it is unusual to find a free-standing figure of a baby or toddler. Children are often represented as attendants for various deities, especially for Guan Yin, the goddess of compassion and mercy.
This child is depicted with a
forward stance, wearing only an apron-like garment. If you look closely, he has
little hair, except for a circular tuft in the middle. This was the traditional
style for small children, and even today this haircut can occasionally be seen,
especially as Chinese New Year approaches. The simplicity of the gilded apron contrasts
strongly with the elaborate patterns and embroidery on most of the clothing found
in Chinese art.
Child attendants are often depicted
with various offerings, such as food, drink, yuan bao (gold ingots), or other
lucky objects, but here the gesturing hands are empty and not intended to hold
anything. The side view emphasizes the plumpness of the young child, in his
limbs, his stomach—even the creases where the apron is tied at the middle. The
base is a simple black band, very similar to the Budai, although it is dressed
up a bit by the offset red platform on which the child stands.
The back of the figure
features very little in the way of clothing, reminding us of the extreme youth
of this attendant. The plainness also emphasizes the expert carving of the tied
bows. These are the only intricate details on this piece, serving to remind us
of its overall simplicity and gentle curves.
I hope you have enjoyed these
two statuettes, which while probably not of great significance in the broader
sense, I feel are two of the highlights of my collection. Accurate depictions
of babies or toddlers are rare, and this one is suffused with a special
personality and charm. The Budai, likewise, has a happy, simple aura which reminds
us in an increasingly complex world that enlightenment and contentment come
from within.
(All photographs and original objects
property of the author.)
