This
Maitreya, carved in pure white marble, sits poised and stately, its symmetry and
uprightness enhancing a surface that bears its signs of age as markings left by
twisting vines adhering to the sculpture, suggesting its original placement was
outdoors in a temple garden or shrine.
The
future Buddha is seated on a draped plinth atop a lotus base. His upper torso
is bare; he is attired in fine robes and ornaments, a sacred cord and crown, and
bears an expression of quiescent tenderness. The work conveys a sense of softness,
echoed in the youthful face with its serene smile and the lyrical note of curving
drapery. The Qing taste for Song style is evident in the broad features and graceful
linearity.
