Provenance:
- Nieuwenhuys Collection, 1991 (Label nr.4)
- Private Collection, Belgium 2025
Condition Report Available
€ 14,500
This object can be viewed in our gallery.
A pair of enamel on biscuit figurines of Buddhist lions (shizi 獅子), standing on low rectangular plinths. Their bodies are glazed with tri-coloured sancai enamels in green, yellow and aubergine. Their body is green, with the mane and tail in a contrasting yellow. Both lions have their mouths open, teeth bared with yellow pennant ribbons flowing from the corners of their mouths. They have their original articulated white pointed ears and protruding black eyeballs. Stylized yellow and aubergine curls decorate the top of their head, with four additional aubergine curls on their backs. The teeth, paws and ears are left unenamelled and covered with a thin transparent glaze. The female lion looks left, a lion cub jumping up her left leg. The male looks to the right, his right paw resting on a pole with a yellow moveable openwork ball.
The Buddhist Lion, also referred to in the West as a Fo Dog or Dog of Foo, is considered a very auspicious animal in China. Lions are not indigenous to China, though they were presented to the court by foreign embassies as early as the Han Dynasty (206BC-220AD). From the Ming Dynasty (1368-1644) onwards, their image takes on a more dog-like appearance, with bulging eyes, pug-like face and a short bushy tail. Traditionally, guardian lions are seen as protectors of Buddhist wisdom and as such often placed as guardians in front of buildings and temples. Usually they are portrayed seated in pairs - a male and female. They can easily be identified, as the female is portrayed protecting her cub and the male standing on a brocade ball.
The majority of later Buddhist lions, have the male on the right. This pair appears to be more interchangeable, so could also follow the more classical Chinese philosophy of “left for honour” - Zuo wei shan. This concept comes from ancient Chinese culture, which considered the left side to be the seat of honour. Therefore, placing the male (yang/power) on the left was a sign of reverence. Musée d’Ennery, Paris has a pair of similar lions configured in the same way. The Anthony de Rothschild Collection has a pair of a similar shape, also on a low plinth (inv.nr. 375).
Thank you for enquiring about this artwork. Please enter the form below and we will contact you swiftly.
