In a recent auction at DuMouchelles, a remarkable large gilt-bronze figure of a Luohan graced the stage. Initially catalogued as Ming-style, this exquisite piece turned out to be from the late Song or Yuan period, carrying with it a rich historical narrative and an impressive final price.
Originally estimated at a modest $10,000 to $20,000, the Luohan sculpture transcended all expectations when the gavel finally fell, hammering at an astonishing $750,000 (or $937,500, considering the 25% buyer’s premium). This remarkable outcome left art enthusiasts and collectors astounded.
Luohan, the esteemed apostles of Buddha, have been subjects of admiration in Chinese art since the Tang dynasty. This particular Luohan figure, standing at 2 feet and 7 inches (79 cm) in height, sits in the Padmasana position while donning a Han-style monk’s robe. The symbolism is rich: the right hand signifies the dispelling of sickness and negative thoughts, while the left hand, palm held up, conveys the act of teaching and reassurance. The character mark on the robe’s overhang possibly designates its place within a temple.
What sets this Luohan sculpture apart is its superb casting and style, closely resembling recorded examples from the late Song dynasty (960-1279) and the subsequent Mongol-led Yuan state (1271-1368). Notably, sculptures of similar aesthetics and craftsmanship from this period were crafted in ceramic and wood as well.
This particular bronze Luohan shares a fascinating connection with another sculpture that made waves at Christie’s. The piece’s animated gestures, the quality of its portraiture, and the treatment of the fluid drapery folds bear remarkable similarity. It is plausible that they might have once been part of the same set, emphasizing the historical significance of this discovery.
The Luohan sculpture offered by DuMouchelles hails from the estate of Barbara Jean and Kerry Nicholl of Harrison Township, Michigan. A detailed video unveiled its remarkable condition, with only minor imperfections, such as the detachment of the right index finger and a tip missing from the left little finger.
In conclusion, DuMouchelles aptly described this as “a very high-quality bronze whose age could be older than the description indicates.” The remarkable journey and the significant price it commanded reflect the enduring appeal of such exceptional art pieces and the rich tapestry of history they carry with them.
