唐 石雕坐獅

powerfully modelled, the muscular beast seated on its haunches on a rectangular base with forelegs outstretched, the head with fierce expression, glaring eyes set under ridged brows and jaw open in full roar baring its large tongue and sharp teeth, the stone of mottled grey-buff tone

盧芹齋收藏
Daguerre ，2002年7月4日

As visible in the catalogue photo, there are minor bruises and losses to the surface. There are minor areas of the lion above the left eye and at the top of the head and at the chest which have a different patina, suggesting they may have been restored in antiquity. The colour of the stone is slightly lighter in reality, without the slight red tinge in the photo.
"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 Magnificent ‘Pagoda Peking’ Stone Lion
Hajni Elias

Amongst lion stone sculptures, the present piece stands out for its magnificent size and powerful yet subtle modelling that represents the height of early Tang period sculptural tradition. Animal stone sculptures of this type were made to line the spirit road that lead to the gateway of tombs. From its size, modelling and stone type used, it is possibly that this lion flanked the spirit road leading to one of the royal tombs found in Shaanxi province, the centre of the Tang empire. Stone lions are known from imperial Tang mausolea, where they were placed in pairs. An early Tang period attribution is suggested for this piece based on its carving style , the modelling of the beast’s facial features and its muscular bulging chest and body, all of which are characteristics found on stone feline figures from Shaanxi province. For example, see a stone lion, from the Shaanxi Provincial Museum, illustrated in Ann Paludan, The Chinese Spirit Road, New Haven and London, 1991, pls. 37-38.

According to Yang Hong in Chinese Sculpture, New Haven and London, 2006, p. 171, spirit road stone figures found lining Tang imperial tombs are representative of the Tang tradition that underwent four stages of development : a formative stage, a period of maturation, a stage of continuity, and a period of decline. In the course of its development its artistic forms went from bold and vigorous to solemn and ponderous before degenerating into crude, lacklustre stereotypes. This lion figure displays all the important features of the bold and vigorous stage,  representative of the formative years mentioned above. See a stone horse figure modelled in this early style, now on the Forest of Steles Museum, Xi’an, illustrated ibid., pl. 2.68, together with a stone figure of a magnificent rhinoceros, from the Tang Xianling mausoleum of Li Yuan, Emperor Gaozu, originally located in Sanyuan county, Shaanxi province and now also in the Forest of Steles Museum, pl. 2.72.

Further related examples, but of slightly later style and attributed to the late 7th to 8th century, showing figures seated in a similar pose as the present example, are illustrated in Paludan, op.cit., pls. 126, 149-52, and col. pls. 10-11, together with examples of standing lions from the tomb of the Song Emperor Shenzong (r. 1068-85), which show related stylized muscle groups, pls. 159 and 170.

Compare also a much smaller lion stone sculpture, from the collection of George Eumorfopoulos and Montague Meyer, and exhibited in Paris at the Orangerie Des Tuilleries, no. D672, sold in our New York rooms, 4th December 1985, lot 62; another from the Arthur M. Sackler collection sold at Christie’s New York, 1st December 1994, lot 164; and a third related figure, from the collection of K. Meyer, Berlin, included in the exhibition Ausstellung Chinesischer Kunst, Berlin, 1929, cat. no. 321, sold at Christie’s London, 25th March 1974, lot 73. Another stone lion sculpture, from the collection of J. Levi of Frankfurt a.M. was also included in the 1929 Berlin exhibition, cat. no. 320, together with the Meyer piece.

The present sculpture is said to have been amongst the Chinese artefacts that showcased the exquisite collection of Pagoda Paris that served as the home of Galerie C.T. Loo & Cie., belonging to the collector and dealer C.T. Loo (Ching Tsai Loo 1880-1957). Pagoda Paris remains a landmark in the 8th district of Paris, adjacent to the Parc Monceau. It was purchased by Loo in 1925, who with the help of the prominent architect Fernand Bloch, transformed the building into a Chinese style pagoda, the exterior  painted in deep red. Its interior was lavishly decorated with lacquer panels from Shanxi that paid homage to Loo’s birthplace and heritage. C.T. Loo to this day remains one of the most renowned collectors and dealers of the early 20th century, who was active from the 1910s to the 40s. Loo helped create Chinese art collections for the elite, such as the Morgans and the Rockefellers, but also supplied to top museums and institutions including the Metropolitan Museum of Art, New York, and the Museum of Fine Arts, Boston. The present magnificent stone lion is representative of Loo’s fine and impeccable taste.