A rare Blanc de Chine Buddhist group depicting Mount Putuo. China, Kangxi

The Eighteen Luohans (Arhats) occupy a central place in Chinese Buddhist iconography, representingthe ideal of spiritual attainment through discipline and insight. Originally a group of sixteen enlightened disciples of the Buddha in the Indian tradition, the canon expanded to eighteen in China, reflecting the gradual sinicisation of Buddhism from the Tang period onward. Having achieved liberation from the cycle of rebirth, the Luohans are entrusted with the protection of the Buddhist Law until the advent of Maitreya, the Buddha of the Future. In Chinese art, they are depicted with highly individualised physiognomies, expressive gestures and distinctive attributes, emphasising their human presence and inner character. Often portrayed as aged, ascetic or even eccentric figures, they stand in deliberate contrast to the idealised serenity of Buddhas and Bodhisattvas. This combination of spiritual authority, psychological depth and visual diversity explains their enduring popularity in Chinese painting, sculpture and porcelain, from temple commissions to refined works intended for private devotion and contemplation. They are believed to reside on Mount Putuo, the legendary island home of the bodhisattva Guanyin, located off the coast of Zhejiang province.

The precise function of this sculpture invites speculation. It may have served as a portable shrine or as an object of domestic devotion, intended for placement in a private setting—such as a household altar or small oratory—or alternatively as a cultivated reception piece for a scholar’s studio. The grotto-like rocky form evokes a symbolic setting of withdrawal and meditation, while the multiplicity of figures provides a visual framework conducive to contemplation. Its purpose is both spiritual and representational: to recall a sacred assembly, to structure a space of prayer, and to accompany recitation and silent meditation, while quietly affirming personal piety and Buddhist learning.

Within the context of refined or affluent interiors, such pieces could also fulfil a role of discreet prestige, bearing witness simultaneously to devotion, aesthetic refinement and familiarity with religious iconography. They thus occupy a position at the intersection of private devotional object, contemplative sculpture and a work of connoisseurship.