The diverse collection of sculptures at the Abby Aldrich Rockefeller Garden is integral to the garden’s traditional Chinese design principles. The original Luohan Bhadra with tiger cub (China, Jurchen Jin Dynasty (1115-1234), dated 1158 by inscription) is a fine example of Jurchen Jin-era stone sculpture, and was among the garden’s most celebrated objects.
“Luohan (Sanskrit arhat, the worthy one) is a perfected person who has gained insight into the true nature of existence and has achieved enlightenment," says Dorothy Wong, Professor of Art History at the University of Virginia specializing in Buddhist art of China during the first millennium CE. “Luohans were worshiped as they promised the preservation of the Buddha's teachings in a time of strife. As the Buddha’s disciples, in representation they are shown as monks with a shaved head and wearing a monk’s robe. Because of their wisdom, in time they became semi-mythical, divine beings who possess supernatural powers.”
When deterioration due to environmental exposure threatened the original sculpture, David Rockefeller, Sr donated it to the Museum of Fine Arts, Boston. A polyester and fiberglass replica produced in the 1990s and displayed in the garden became quite deteriorated over time. Discussions led by Preserve board vice chair Eileen Growald began several years ago about creating a high quality replica that was more representative of the original.
Images clockwise from top left: Structured Light Scanning of the original sculpture at the Museum of Fine Arts, Boston captures a high-resolution 3D image of the sculpture for programming robotic carving equipment in Italy; Luohan during robotic carving in Italy; Italian artisan hand-finishes the replica using a 3D printed model for reference; Dorothy Wong and Pamela Hatchfield inspect the finished sculpture prior to shipping from Italy to the Preserve.
A beautiful new replica of exceptional quality was carved in Italy and installed in the garden this summer. Robotically carved from marble and then finished by hand using high-resolution scanning technology, this is a faithful reproduction of a treasured work of art.
The Preserve is grateful to Eileen Growald, Preserve board vice chair, Pamela Hatchfield, Head of Objects Conservation Emerita, Museum of Fine Arts, Boston and Distinguished Professor of Conservation and Technical Studies, NYU, and Professor Dorothy Wong for lovingly shepherding this project through to completion.