<em>Shrine with an Image of the Buddha Amitayus</em>, 1736–1795. Shrine: Cloisonné enamel on copper alloy; Image: Copper with semiprecious stones, 25 1/4 x 14 3/8 x 10 5/8 in. (64.1 x 36.5 x 27 cm). Brooklyn Museum, Gift of Samuel P. Avery, Jr., 09.520a-b. Creative Commons-BY (Photo: Brooklyn Museum, 09.520a-b_threequarter_SL3.jpg)

Shrine with an Image of the Buddha Amitayus, 1736–1795. Shrine: Cloisonné enamel on copper alloy; Image: Copper with semiprecious stones, 25 1/4 x 14 3/8 x 10 5/8 in. (64.1 x 36.5 x 27 cm). Brooklyn Museum, Gift of Samuel P. Avery, Jr., 09.520a-b. Creative Commons-BY (Photo: Brooklyn Museum, 09.520a-b_threequarter_SL3.jpg)

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Can you tell me about this?

I absolutely love this work! It's a cloisonne from the reign of the Qianlong Emperor in China. Cloisonne is an enamel technique that was very popular in the court at the time.

There are so many incredible details! The enamel, essentially glass, is put into little metal enclosures, which allows for stability and a number of colors to be used in the design. The flowers are my favorite. How about you?

Thank you for the excellent answer! i was actually curious about the color and how it was done? Could you also tell me if this work had a function other then an object, like maybe an altar?

Of course! As for the color, each separate color would have been a different colored glass. There were only so many colors that the artisans were able to use and, outside of a few, they didn't mix enamels quite often. To reach the brilliant colors seen here, the vessel would have been fired several times, to make sure each little enclosure is completely full.

The object would likely have been part of a larger Buddhist shrine. In Buddhist shrine displays, especially for wealthy patrons, shrine furniture could be made to house important images. It's probable that a different, likely larger, statue was once housed in this shrine.

Wow, very interesting! Thank you!

You're welcome! This particular shrine object is a great example of the internationalism happening at the Qianlong court. The shape is based on Italian architecture, the designs in the cloisonne are Chinese, and the image is from Tibetan Buddhism.

I see this was inspired by the Baldacchino at St. Peter's Basilica. How did the Chinese come into contact with Rome during this period?

There were a number of Jesuits at the court of the Emperor Qianlong, who ruled during the time period in which the object was created. Through reports and etchings from the Jesuits the court became aware of European art and architecture. The Emperor Qianlong and his court were very interested in foreign traditions from the East and West.

Was there really no canopy before the Jesuits in China?

Certainly not of this type! However, the halo around the head of a deity predates the Jesuits in China, so there is imagery here that certainly wasn’t Jesuit inspired

What is this?

This is a bodhisattva in a cloisonné shrine, inspired by the Baldacchino at St. Peter's Basilica.

The label for this artwork mentions that the shape of the shrine "corresponds" to Bernini's Baldacchino. Is there more information or theorization about this potential connection?

Bernini's Baldacchino has the same twisting "Solomonic" columns with gilded vines.

The Baldacchino was widely reproduced in 18th century prints, and it is plausible that a Chinese craftsman could have been aware of the design. The Imperial cloisonne workshops in Beijing were originally set up under the influence of Jesuit missionaries, although I don't believe the connection to the Baldacchino is certain.

Interesting, thanks!

You're welcome! European designers were extremely influenced by Asian art in this period, but it's interesting to consider ways in which design ideas flowed in the opposite direction!

What do the bells signify on this piece?

These might be bells or even just hanging chimes, both of which are common in Buddhist religious settings as a call to worship for monks or even just a reminder to remain ever diligent in one's faith.

You'll notice that they are in the form of lotus flowers, a potent buddhist symbol for enlightenment!

Where would something like this be seen?

The shrine was likely displayed in a Buddhist temple.

Shrine with an Image of the Buddha Amitayus

Asian Art

On View: Asian Galleries, Southwest, 2nd floor

This small deluxe shrine was likely created for the personal use of a very elite Buddhist practitioner, and it probably stood on an altar table in a family home or palace sub-building. The image of the Buddha Amitayus arrived at the Brooklyn Museum with the shrine in 1909, but it is almost certainly a replacement for the one that was originally displayed there.

MEDIUM Shrine: Cloisonné enamel on copper alloy; Image: Copper with semiprecious stones

Place Made: China

DATES 1736–1795

DYNASTY Qing Dynasty

PERIOD Qianlong Period

DIMENSIONS 25 1/4 x 14 3/8 x 10 5/8 in. (64.1 x 36.5 x 27 cm) Buddha: 8 1/4 × 4 3/4 × 3 7/8 in. (21 × 12.1 × 9.8 cm) (show scale)

COLLECTIONS Asian Art

ACCESSION NUMBER 09.520a-b

CREDIT LINE Gift of Samuel P. Avery, Jr.

CATALOGUE DESCRIPTION Large shrine, containing an image. The shrine rests on a rectangular pedestal with a spreading base, four low feet, a scalloped lower edge, sides that curve inwards to a narrow central band and a railing on top. Rising from the corners of the pedestal are four columns entwined with dragons amongst clouds, in relief, supporting an elaborate domed roof surmounted by a large knob. The edges of the roof spread upwards and outwards, are shaped to resemble ju li heads and have bells suspended from the scrolls which protrude from the corners. The image, a Lamaist Bodhisattva, sits cross-legged on a pedestal, and wears the usual skirt (dhota), sash, jeweled chains, arm bands, and crown. Behind is an arch decorated with a flame pattern in relief. Gilded bronze. The image is decorated with colored glass to simulate jewelry, and the shrine is decorated with cloisonné and champlevé enamels. On the pedestal are false gadroons and floral scrolls in low relief, with the ground filled with colored champlevé enamels, chiefly a dull turquoise. The floor of the pedestal is now similarly enameled a similar turquoise blue. The columns are similarly enameled. The tip of the knob, the ju li head shaped plaques on the roof, and the upward spreading eaves are decorated with lotus scrolls in red, white, pink, yellow, two shades of green and cobalt blue cloisonné enamels on the turquoise ground. The canopy like structure of the shrine is probably Indian in origin and the form of the shrine as a whole corresponds to a well known baldacchino in St. Peters, Rome, created in 1624-1633 by the Italian artist Gian Lorenzo Bernini (1598-1680). The imperial dragons around the four ornate columns, however, are typically Chinese. Between the base of the knob are double rows of false galdroons, all in relief. The seated figure is likely the Bodhisattva Amitayus, who is shown crowned and seated with his hands in dhyana mudra (palms up, the posture of meditation).

EXHIBITIONS

MUSEUM LOCATION This item is on view in Asian Galleries, Southwest, 2nd floor

CAPTION Shrine with an Image of the Buddha Amitayus, 1736–1795. Shrine: Cloisonné enamel on copper alloy; Image: Copper with semiprecious stones, 25 1/4 x 14 3/8 x 10 5/8 in. (64.1 x 36.5 x 27 cm). Brooklyn Museum, Gift of Samuel P. Avery, Jr., 09.520a-b. Creative Commons-BY (Photo: Brooklyn Museum, 09.520a-b_threequarter_SL3.jpg)

IMAGE threequarter, 09.520a-b_threequarter_SL3.jpg. Brooklyn Museum photograph

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RIGHTS STATEMENT Creative Commons-BY

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