A SOAPSTONE FIGURE OF A LOHAN WITH A LION CUB, BY ZHOU BIN 17TH CENTURY

the Shoushan stone of a warm cream tone, masterfully carved as a seated lohan with a round serene face, detailed with half-opened eyes, upward-turning lips, and short curly beard, flanked by elongated ears suspending circular earrings, holding with both hands a lion cub playfully pawing one of his earrings, wearing a voluminous robe with gilt-decorated floral hems, the lower garment similarly embellished with wan-diaper motifs, revealing the shoes patterned with prunus blossoms, sitting on a vermilion stepped platform with lotus sprays against waves, the underside similarly adorned with a border of lotus and waves, enclosing the characters reading Gumin Zhou Bin Shangjun shi zhi ('Made by Zhou Bin, Shangjun of Ancient Min') incised and picked out in gilt, the stones with natural dark veins and smooth patina

Collection of the Estate of R. Foster Reynolds, Providence, Rhode Island.
Sotheby's New York, 25th February 1983, lot 194.

Exposition Retrospective de Lyon, Lyon, n.d., cat. no. 888.

The figure has been formed rom two separate blocks of stone. The second piece runs across the front of the figure at the join to the right foreleg, the feet and part of the robe. This is not a replacement, but rather original. The right hand of the lohan, as well as the right earring and the left paw of the lion cub, have been restored. The pedestal has a 'C'-shaped section which has been restuck (approx. 5 cm), with some minor losses (some refilled). There are some occasional minor nibbles and bruises. The base also has some surface scratches. Except for some expected wear to the gilt decoration, the overall condition is quite good. The actual colour is slightly darker grey than the catalogue illustration.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The inscription on the present figure and may be translated as follows:

          Gumin Zhou Bin,  Shangjun shi zhi.
          Made by Zhou Bin, the gentleman Shangjun of Ancient Min    [present day Fuzhou]

Chinese carvers rarely signed their work and to find a piece with the maker's signature, including the location of his workshop, signifies the patronage he enjoyed in this art form. Although a number of soapstone figural carvings can be found, this piece is amongst the finest for the meticulously detailed workmanship and naturalistic carving.

An unusual feature of this figure is that the carving is constructed from two separate pieces. There is a straight dividing line running across the front of the figure where the two join, and the right foreleg, the feet and part of the robe are all carved from the smaller, additional piece. The continuity of the line, gilding and carving style confirm that it is an original technique of construction.

Zhou Bin (zi Shangjun), a native of Zhangzhou in Fujian province, was considered one of the finest soapstone carvers during the seventeenth century. See Gerard Tsang and Hugh Moss, Arts from the Scholar's Studio, Hong Kong, 1986, pp. 84-86, for a detailed discussion of Zhou and his work.

Another soapstone carving of a seated lohan, also signed by Zhou Bin, is illustrated ibid. pl. 44; one in the National Museum of Chinese History, Beijing, is published in Zhongguo wenwu jinghua daquan, Jin yin yu shi juan, Hong Kong, 1994, p. 83, pl. 242; and a third example was included in the exhibition In Scholar's Taste, Sydney L. Moss Ltd., London, 1983, cat. no. 123.