A JAPANESE LACQUERED WOOD FIGURE OF AMIDA NYORAI MUROMACHI OR LATER

A JAPANESE LACQUERED WOOD FIGURE OF AMIDA NYORAI

MUROMACHI OR LATER, 15TH CENTURY OR LATER

Of yosegi-zukuri (jointed) construction, standing on an elaborate lotus throne before a tall mandorla, kohai, carved with scrolling clouds and a large sanskrit character, the figure wearing long flowing robes loosely draped across his torso, the eyes inlaid in glass and downcast in a serene expression, his hands in a mudra representing one of the nine levels of rebirth, kubon, with a glass or crystal bead amongst his knotted hair signifying spiritual elevation, ushnisa, and another representing the urna on his forehead, with remnants of gilt lacquer, 84.5cm overall.

Provenance: the collection of Mr Richard Nathanson, London, together with a valuation from Marcel Nies Oriental Art dated 31st May 2017. A copy of the additional documentation from Nies is available.

Amida Nyorai is represented performing the kubon mudra when welcoming the souls of the departed as they reach the Great Western Paradise. Sculptures and paintings depicting this subject became popular during the 12th century and were placed near the beds of dying devotees to bring them comfort.

Richard Nathanson began his career at Sotheby's in 1966 and was immediately captivated by Impressionist and early 20th century art. He subsequently set up as an independent art advisor in that field, in which he became well respected and known, in particular for his involvement with the work of artists such as Sisley, Modigliani, Rouault, Bonnard and Albert Houthuesen. During his lifelong career in the art world, Richard expanded his expertise across time and space and gathered an extraordinarily eclectic collection of artworks which included classical, medieval, African, Asian and Oceanic pieces as well as folk art, natural forms and early toys. As he learnt more about these cultures and the art they inspired, his profound admiration for them grew, broadening his spiritual and philosophical outlook. He observed the intense affinities between these pieces, sometimes separated by millennia and thousands of miles and was fascinated by the conversations that arose between these various expressions of human experience. Richard felt that art had the ability to give hope and inspiration in the human quest for truth and beauty.