A SOAPSTONE FIGURE OF VAJRAPUTRA, THE LAUGHING LION LUOHAN (XIAOSHI LUOHAN), BY ZHOU BIN, 17TH CENTURY

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A SOAPSTONE FIGURE OF VAJRAPUTRA, THE LAUGHING LION LUOHAN (XIAOSHI LUOHAN), BY ZHOU BIN, 17TH CENTURY Expert’s note: The unmistakable hand of Zhou Bin is evident in the exceptionally sophisticated composition of the present figure. Particularly striking is the carefully constructed triangular relationship between its three principal visual anchors: the head of the luohan, the lion’s head, and the massive rosary suspended over his knee. This arrangement recalls the composizione triangolare or piramidale, a compositional principle with ancient precedents that was repeatedly employed by the great masters of European art, most famously during the Renaissance and Baroque periods, to achieve both stability and visual tension. Here, however, the geometry is anything but static. The gazes of both Vajraputra and the lion are directed toward the rosary; if their sightlines are extended, they converge at some distant point beyond it, further reinforcing the triangular structure and concentrating the viewer’s attention on this third focal point. The substantial spaces between these three anchors are filled by the luohan’s voluminous robes, modeled in heavy, cascading folds that generate an almost wave-like movement emerging from the depth of the sculpture. This interplay between firmly controlled geometry and flowing drapery gives the composition an unusual sense of openness. It is precisely this sophisticated orchestration of mass, movement, and empty space that distinguishes the work from more conventional soapstone carvings of the period and reveals the assured hand of a master sculptor. China. The finely carved figure is shown reclining against a Buddhist lion, holding a lingzhi and a rosary, wearing a loosely draped robe over pants from which his shoes protrude. His round face is carved with a contented expression, and the stubble of his beard and mustache are indicated by minuscule stippling, while his hair is detailed by fine curls. The stone is of a rich amber color, varying from pale and partially translucent tones to a deep brown, with remnants of varnish and polychrome decoration. Inscriptions: To the lower back, with the neatly engraved signature ‘Shang jun’. Dimensions: Length 7 cm Shangjun is the zi, or sobriquet, of Zhou Bin, one of the best known and talented carvers of the 17th century. Zhou was a native of Zhangzhou in Fujian province, where the large soapstone quarries are situated. Although textual information about him is scarce, and his exact dates are not known, he is believed to have been active in the Kangxi period and to have been trained by Yang Yuxuan, another well-known soapstone carver. While Zhou’s figural carvings were well known for their sculptural qualities, he was better known among contemporary scholar-officials for his soapstone seals. He is said to have used the Chinese painting concept of xieyi ('idea painting') in carving landscapes, flowers, pines and bamboo on seals. His works were widely sought after throughout the Qing dynasty. Vajraputra is one of the eighteen luohans, representative of freedom from inhibition and playfulness. He is often portrayed with a Buddhist lion cub at the side. Vajraputra literally translates as 'man of cats'. Legend has it that Vajraputra was a lion hunter before converting to Buddhism. Upon attaining enlightenment, a lion cub approached him playfully, appeared to be showing gratitute for renouncing his sinful ways of killing lions. Vajraputra is therefore always depicted inseparable from the little lion cub. Auction result comparison: Type: Closely related Auction: Sotheby’s New York, 23 September 2020, lot 671 Price: USD 40,320 or approx. EUR 44,500 converted and adjusted for inflation at the time of writing Expert remark: Compare the similar subject and manner of carving. Note the much larger size (12.4 cm).

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