China
17th century
China
17th century
This seated arhat represents an interesting stylistic amalgam of Himalayan and Chinese artistic traditions. If it were not for the hand gestures and the head the image could well be Tibetan, as the robe falls similarly to Tibetan Buddha depictions and the double lotus is typical of the region. However, other features of the arhat are all typical of Chinese depictions and do not occur in common Tibetan depictions.Arhats (Chinese: luohan) are the earliest followers of the Buddha and usually represented in sets ranging from sixteen to five hundred. This one is not identified, and he probably once belonged to a Chinese set. The arhat is shown in a meditative pose with his hands folded in front of his chest with his index fingers stretched and his gaze seemingly directed towards them.
Also known as vajra position, this posture is associated with meditation.
The central goal of Buddhism is the liberation of all beings from suffering and the cycle of life, death, and rebirth, known as samsara, through applying the teachings of the Buddha.
Himalayan art includes portraits of legendary and historical humans, including accomplished religious teachers (lamas), the Buddha’s original disciples (arhats), and spiritually accomplished tantric masters (mahasiddhas).
Although Tibetan Buddhism was not practiced broadly in China, the imperial centers, such as Beijing and Mount Wutai, emerged as hubs of Tibetan Buddhist cultural production. The emperors of the Mongol Yuan (1271–1368), Chinese Ming (1368–1644), and Manchu Qing (1644–1911) dynasties harnessed Tibetan Buddhist ideas to consolidate their power.
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