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A MASSIVE IMPORTANT GILT COPPER ALLOY FIGURE OF AVALOKITESHVARA CHINA, SONG MING DYNASTY
作品估价：HKD 8,000,000-12,000,000
货币换算
成交状态：流拍
买家佣金拍卖企业在落槌价的基础上收取买家佣金
28%
图录号：
6
拍品名称：
A MASSIVE IMPORTANT GILT COPPER ALLOY FIGURE OF AVALOKITESHVARA CHINA, SONG MING DYNASTY
拍品描述：
CHINA, SONG/MING DYNASTY
61 cm (24 in.) high.
The result of Oxford thermoluminescence test number C299d6 (8 October 1999) is consistent with the dating of this lot.
Published
Meinrad Maria Grewenig & Eberhard Rist (eds.), Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, pp. 168-9, no. 57.
Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 — 19 February 2017.
Acquired from a European Private Collection, circa 1980s
銅鎏金觀音像
宋/明
本拍品經牛津熱釋光檢測（編號C299d6；1999年10月8日），結果與其斷代相符。
著錄
Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha：2000 Years of Buddhist Art, 232 Masterpieces》，弗爾克林根，2016年，頁168-9，編號57
展覽
「Buddha：2000 Years of Buddhist Art, 232 Masterpieces」，弗爾克林根，2016年6月24日至2017年2月19日
來源
歐洲私人收藏，約1980年代入藏
This imposing gilt-bronze figure of Bodhisattva Avalokiteshvara is exceptionally rare, with one other similar example preserved in the Avery Brundage Collection in The Asian Art Museum, San Francisco (B60S543), illustrated by R.-Y.Lefebvre d'Argencé, (ed.), Chinese, Korean and Japanese Sculpture in the Avery Brundage Collection, 1974, pl. 159, fig. 4. The Avery Brundage example, dated to the Ming dynasty and on view at the museum, is slightly smaller, measuring 55.2 cm high, compared to the Speelman Bodhisattva, measuring 61 cm high. The form and modelling, casting style, and sculptural details, as well as workmanship, are all nearly identical; this is also apparent in the elaborate jewellery adorning the figures and treatment of the finely incised decoration on the robe and lower garment- demonstrating the two figures were almost certainly made in the same workshop and likely by the same master craftsman. The Speelman Bodhisattva is, however, more complete, retaining the hair ornaments, dragon heads, and billowing sashes flanking the head.
The representation of dragon ornaments flanking the high coiffure, and finely decorating the lower garment, may possibly conflate the identities of Longnü and Avalokiteshvara in this figure. Longnü ('Nāga Maiden' or 'Dragon Girl') transformed into a perfected male Bodhisattva. In Mahayana Buddhism, Longnü noted in the 12th chapter of the Lotus Sutra, is described in her initial form, as follows:
"There is the daughter of the nāga king Sāgara who is only eight years old. She is wise; her faculties are sharp; and she also well knows all the faculties and deeds of sentient beings. She has attained the power of recollection. She preserves all the profound secret treasures of the Buddhas, enters deep in meditation, and is well capable of discerning all dharmas. She instantly produced the thought of enlightenment and has attained the stage of nonretrogression. She has unhindered eloquence and thinks of sentient beings with as much compassion as if they were her own children. Her virtues are perfect. Her thoughts and explanations are subtle and extensive, merciful, and compassionate. She has a harmonious mind and has attained enlightenment."
The Buddha's disciple Śāriputra does not believe that a woman can attain Buddhahood. The nāga maiden, therefore, goes on to offer a pearl to the Buddha, symbolizing her life and ego. When he accepts it, she is transformed into a perfected male Bodhisattva who has attained complete enlightenment.
The facial features of the Speelman and Brundage Bodhisattvas have been influenced by, and are in continuation of, related depictions dating to the 10th century. See, for example, an ink sketch of a Bodhisattva head, late Tang dynasty/Five Dynasties, 10th century, found in Dunhuang, Gansu Province, at the Bibliothèque nationale de France, Paris. This depiction of the three-part moustache and beard is particularly similar (see, Chine: L'empire du trait. Calligraphies et dessins du Ve au XIXe siècle, Bibliothèque nationale de France, Paris, 2004, no. 36a). Similarly, other elements such as the billowing scarves, multiple heads around the coiffure, scrolling headdress, and jewellery, are all closely related to those seen on cave paintings in Dunhuang, dated to the 8th-9th century; see Collection of Paintings from the Dunhuang Library Cave: Paintings from the Western Regions, vol. 1, p. 29; vol. 2, pp. 7 and 15; vol. 3, pp. 3, 8 and 13; and vol. 7, p. 19. The high coiffure may have been inspired by the Pāla style, circa 12th century. A further decorative feature is the incised dragon on the lower garment, which relates to depictions on Ding wares, such as the ones seen on a dish and a washer, published in China at the Inception of the Second Millennium: Art and Culture of the Sung Dynasty, 960-1279, Palace Museum, Taipei, 2000, nos.II-21 and III-17, fig.5.
本尊造像造型碩大，莊嚴華麗，神韻祥和，為傳世罕見例子。類似的造像可參考布倫戴奇（Avery Brundage）收藏一例，現藏於美國舊金山亞洲藝術博物館（編號B60S543），見R.-Y.Lefebvre d'Argencé編，《Chinese, Korean and Japanese Sculpture in the Avery Brundage Collection》，1974年，圖版159，圖4。館内展示的布倫戴奇所藏的明代例子，尺寸較小，高55.2厘米，本拍品則高61厘米。其形式風格，鑄造技巧，雕刻細節與本尊十分相仿。此外，觀音冠飾繁縟，瓔珞滿綴，衣服紋飾豐富細緻，反映兩者或為同一工坊所造，甚至可能出自同一工匠。本尊造像整體裝飾猶存，仍可見其繁複工藝，實在難得。
此造像的髮髻兩側和衣裳下擺均出現了龍紋裝飾，很有可能是將龍女和觀世音菩薩結合來表達。龍女轉成男身，得道成佛。在大乘佛教中，其故事被記載於《妙法蓮花經》第十二品：
「有娑竭羅龍王女，年始八歲。智慧利根，善知眾生諸根行業。得陀羅尼。諸佛所說甚深秘藏，悉能受持。深入禪定，了達諸法。於剎那頃，發菩提心。得不退轉，辯才無礙。慈念眾生，猶如赤子。功德具足，心念口演，微妙廣大，慈悲仁讓，志意和雅。能至菩提。」
佛陀的弟子舍利弗不相信女人能成佛，因此龍女續向佛陀獻上一顆珍珠，象徵她的生命與「自我」。當佛陀接過珍珠，她便轉化為已成就佛道的男身菩薩相。
本拍品與布倫戴奇收藏的菩薩像的面部特徵都受到十世紀相關的塑造工藝影響，延續了該時期的風格。參考一件甘肅省敦煌出土的晚唐/五代，十世紀，菩薩首像水墨素描，現藏於法國國家圖書館。菩薩的唇上有兩撇鬍子，下巴留一撮細鬍，與本拍品所作類近，見《Chine: L'empire du trait. Calligraphies et dessins du Ve au XIXe siècle》，法國國家圖書館，巴黎，2004年，編號36a。通觀本像，刻畫自然，披肩飄逸，髮髻有三面觀音，冠飾瓔珞恬雅，與八至九世紀的敦煌壁畫的描繪互相呼應；相關例子可參考《Collection of Paintings from the Dunhuang Library Cave: Paintings from the Western Regions》，卷一，頁29；卷二，頁7及15；卷三，頁3、8及13；卷七，頁19。其細密且高挺的髮髻或受到帕拉王朝風格（約十二世紀）影響。此外，其衣擺下方刻有龍紋，類似的描繪還見於定窰瓷器，例如碟、洗，詳細可參考《千禧年宋代文物大展（960-1279）》，故宮博物院，台北，2000年，編號II-21及III-17，圖5。
For the figures listed in this essay, please refer to our printed or digital catalogue.
關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。
61 cm (24 in.) high.
The result of Oxford thermoluminescence test number C299d6 (8 October 1999) is consistent with the dating of this lot.
Published
Meinrad Maria Grewenig & Eberhard Rist (eds.), Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, pp. 168-9, no. 57.
Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 — 19 February 2017.
Acquired from a European Private Collection, circa 1980s
銅鎏金觀音像
宋/明
本拍品經牛津熱釋光檢測（編號C299d6；1999年10月8日），結果與其斷代相符。
著錄
Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha：2000 Years of Buddhist Art, 232 Masterpieces》，弗爾克林根，2016年，頁168-9，編號57
展覽
「Buddha：2000 Years of Buddhist Art, 232 Masterpieces」，弗爾克林根，2016年6月24日至2017年2月19日
來源
歐洲私人收藏，約1980年代入藏
This imposing gilt-bronze figure of Bodhisattva Avalokiteshvara is exceptionally rare, with one other similar example preserved in the Avery Brundage Collection in The Asian Art Museum, San Francisco (B60S543), illustrated by R.-Y.Lefebvre d'Argencé, (ed.), Chinese, Korean and Japanese Sculpture in the Avery Brundage Collection, 1974, pl. 159, fig. 4. The Avery Brundage example, dated to the Ming dynasty and on view at the museum, is slightly smaller, measuring 55.2 cm high, compared to the Speelman Bodhisattva, measuring 61 cm high. The form and modelling, casting style, and sculptural details, as well as workmanship, are all nearly identical; this is also apparent in the elaborate jewellery adorning the figures and treatment of the finely incised decoration on the robe and lower garment- demonstrating the two figures were almost certainly made in the same workshop and likely by the same master craftsman. The Speelman Bodhisattva is, however, more complete, retaining the hair ornaments, dragon heads, and billowing sashes flanking the head.
The representation of dragon ornaments flanking the high coiffure, and finely decorating the lower garment, may possibly conflate the identities of Longnü and Avalokiteshvara in this figure. Longnü ('Nāga Maiden' or 'Dragon Girl') transformed into a perfected male Bodhisattva. In Mahayana Buddhism, Longnü noted in the 12th chapter of the Lotus Sutra, is described in her initial form, as follows:
"There is the daughter of the nāga king Sāgara who is only eight years old. She is wise; her faculties are sharp; and she also well knows all the faculties and deeds of sentient beings. She has attained the power of recollection. She preserves all the profound secret treasures of the Buddhas, enters deep in meditation, and is well capable of discerning all dharmas. She instantly produced the thought of enlightenment and has attained the stage of nonretrogression. She has unhindered eloquence and thinks of sentient beings with as much compassion as if they were her own children. Her virtues are perfect. Her thoughts and explanations are subtle and extensive, merciful, and compassionate. She has a harmonious mind and has attained enlightenment."
The Buddha's disciple Śāriputra does not believe that a woman can attain Buddhahood. The nāga maiden, therefore, goes on to offer a pearl to the Buddha, symbolizing her life and ego. When he accepts it, she is transformed into a perfected male Bodhisattva who has attained complete enlightenment.
The facial features of the Speelman and Brundage Bodhisattvas have been influenced by, and are in continuation of, related depictions dating to the 10th century. See, for example, an ink sketch of a Bodhisattva head, late Tang dynasty/Five Dynasties, 10th century, found in Dunhuang, Gansu Province, at the Bibliothèque nationale de France, Paris. This depiction of the three-part moustache and beard is particularly similar (see, Chine: L'empire du trait. Calligraphies et dessins du Ve au XIXe siècle, Bibliothèque nationale de France, Paris, 2004, no. 36a). Similarly, other elements such as the billowing scarves, multiple heads around the coiffure, scrolling headdress, and jewellery, are all closely related to those seen on cave paintings in Dunhuang, dated to the 8th-9th century; see Collection of Paintings from the Dunhuang Library Cave: Paintings from the Western Regions, vol. 1, p. 29; vol. 2, pp. 7 and 15; vol. 3, pp. 3, 8 and 13; and vol. 7, p. 19. The high coiffure may have been inspired by the Pāla style, circa 12th century. A further decorative feature is the incised dragon on the lower garment, which relates to depictions on Ding wares, such as the ones seen on a dish and a washer, published in China at the Inception of the Second Millennium: Art and Culture of the Sung Dynasty, 960-1279, Palace Museum, Taipei, 2000, nos.II-21 and III-17, fig.5.
本尊造像造型碩大，莊嚴華麗，神韻祥和，為傳世罕見例子。類似的造像可參考布倫戴奇（Avery Brundage）收藏一例，現藏於美國舊金山亞洲藝術博物館（編號B60S543），見R.-Y.Lefebvre d'Argencé編，《Chinese, Korean and Japanese Sculpture in the Avery Brundage Collection》，1974年，圖版159，圖4。館内展示的布倫戴奇所藏的明代例子，尺寸較小，高55.2厘米，本拍品則高61厘米。其形式風格，鑄造技巧，雕刻細節與本尊十分相仿。此外，觀音冠飾繁縟，瓔珞滿綴，衣服紋飾豐富細緻，反映兩者或為同一工坊所造，甚至可能出自同一工匠。本尊造像整體裝飾猶存，仍可見其繁複工藝，實在難得。
此造像的髮髻兩側和衣裳下擺均出現了龍紋裝飾，很有可能是將龍女和觀世音菩薩結合來表達。龍女轉成男身，得道成佛。在大乘佛教中，其故事被記載於《妙法蓮花經》第十二品：
「有娑竭羅龍王女，年始八歲。智慧利根，善知眾生諸根行業。得陀羅尼。諸佛所說甚深秘藏，悉能受持。深入禪定，了達諸法。於剎那頃，發菩提心。得不退轉，辯才無礙。慈念眾生，猶如赤子。功德具足，心念口演，微妙廣大，慈悲仁讓，志意和雅。能至菩提。」
佛陀的弟子舍利弗不相信女人能成佛，因此龍女續向佛陀獻上一顆珍珠，象徵她的生命與「自我」。當佛陀接過珍珠，她便轉化為已成就佛道的男身菩薩相。
本拍品與布倫戴奇收藏的菩薩像的面部特徵都受到十世紀相關的塑造工藝影響，延續了該時期的風格。參考一件甘肅省敦煌出土的晚唐/五代，十世紀，菩薩首像水墨素描，現藏於法國國家圖書館。菩薩的唇上有兩撇鬍子，下巴留一撮細鬍，與本拍品所作類近，見《Chine: L'empire du trait. Calligraphies et dessins du Ve au XIXe siècle》，法國國家圖書館，巴黎，2004年，編號36a。通觀本像，刻畫自然，披肩飄逸，髮髻有三面觀音，冠飾瓔珞恬雅，與八至九世紀的敦煌壁畫的描繪互相呼應；相關例子可參考《Collection of Paintings from the Dunhuang Library Cave: Paintings from the Western Regions》，卷一，頁29；卷二，頁7及15；卷三，頁3、8及13；卷七，頁19。其細密且高挺的髮髻或受到帕拉王朝風格（約十二世紀）影響。此外，其衣擺下方刻有龍紋，類似的描繪還見於定窰瓷器，例如碟、洗，詳細可參考《千禧年宋代文物大展（960-1279）》，故宮博物院，台北，2000年，編號II-21及III-17，圖5。
For the figures listed in this essay, please refer to our printed or digital catalogue.
關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。