LOT 215
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AN EXCEPTIONALLY RARE MASSIVE GILT-LACQUERED WOOD FIGURE OF MAITREYA Kangxi (3)
作品估价：HKD 4,000,000-8,000,000
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成交状态：待拍
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图录号：
215
拍品名称：
AN EXCEPTIONALLY RARE MASSIVE GILT-LACQUERED WOOD FIGURE OF MAITREYA Kangxi (3)
拍品描述：
Kangxi
The imposing figure superbly carved seated in
lalitasana on a two-part detachable lotus throne, the hands held in
dharmacakra mudra, the gesture of elucidation, the head slightly tilted to the right, with contemplative expression and eyes downcast, the mouth picked out in red, the long pendulous ears with ring earrings suspending palmette pendants, the hair with traces of blue pigment swept up and elegantly tressed in high chignon with loose strands falling over the shoulders, adorned with a tiara set with florets, wearing a cascading
dhoti draped over the shoulders and sweeping over the legs and tied at the waist, bejewelled with beaded necklaces, bracelets and foliate floral pendants over the chest and suspended from the belt and over the knees and around the arms and ankles, the double lotus petal panels around the throne each enclosing a
lingzhi with the reverse carved with a large single
lingzhi, the top of the throne and interior red-coloured, with traces of a label to the top and another to the interior, possibly denoting the position of the sculpture.
126cm (49 5/8in) high (3).
清康熙 御製木胎夾紵髹漆金彌勒菩薩像
Christie's Hong Kong, 27 April 1997, lot 531 (dated as 15th century)
An important East Coast collection
Collection of the master of Wu An
來源：
香港佳士得，1997年4月27日，拍品編號531（定十五世紀）
重要美國東岸私人收藏
無庵主人收藏
This majestic sculpture represents Maitreya, the Future Buddha, whose name means loving kindness, one of eight special transcendent students of the Buddha Shakyamuni in Mahayana Buddhism, known as the 'Heart-Sons". Shown here as a princely bodhisattva residing in the celestial paradise of Tushita-Heaven, Maitreya has postponed becoming a complete Buddha until all sentient beings are liberated from samsara, the cycle of death and rebirth.
The present figure of Maitreya can be counted amongst the most exceptional extant gilt-lacquered wood Buddhist figures of the 17th/18th century. Though imposing in size and a sculpture which would have been worshipped from some distance, the master craftsman has attended to every detail, first and foremost with rendering the gentle peaceful expression, coming to life with the slight tilt of the head to one side, liberating the sculpture from any rigidity. The lavish jewellery with beaded pendant necklaces, bracelets and anklets, beautifully represents the Buddha's Princely demeanour. The figure is further enlivened not only with the extended right foot over the throne, but the up-turned toes of each foot, as indeed the graceful poise of the well-detailed hands.
This figure of Maitreya powerfully represents the Kangxi Emperor's embracement of Tibetan Buddhism. This was both for political and personal reasons. On the political side, it solidified relationships with Mongol and Tibetan allies. Already during the period of the Shunzhi Emperor, the Great Fifth Dalai Lama was invited to Beijing in 1652, partly to recognise his support for the Manchus' ambition to conquer and unite China, Mongolia and Tibet into a single Buddhist realm. Preference for the Tibetan Buddhist Gelugpa, the order of the Dalai Lamas, lead to the recognition in 1640 of the Manchu rulers as emanations of Manjusri, the bodhisattva of wisdom. The Kangxi Emperor was likely the first Qing Emperor to take the title of 'Manjughosa Emperor', referring to his own bodhisattvahood in his preface to a Mongolian translation of the Kangyur, completed in 1720; see, in the Palace Museum, Taipei, A Wondrous Occasion Predestined: Unveiling the Kangxi Kangyur, Taipei, 2015. The Kangxi Emperor wrote and commissioned many copies of the Heart Sutra, supported prayers on Imperial birthdays and constructed monasteries in Beijing, Chengde (Jehol), Mongolia and Tibet. Under the Kangxi and Qianlong Emperors, Jehol became a site for temple building, study and diplomatic exchange with Tibet.
The Kangxi Emperor's personal commitment to Tibetan Buddhism could arguably be ascribed to his Mongol princess grandmother, the Grand Empress Dowager Xiaozhuang (1613-1688), and adherent of Tibetan Buddhism who was largely responsible for his upbringing during the rule of the Four Regents, following the death of his mother, Empress Xiaokangzhang (1640-1663). Indeed the creation of the magnificent Kangyur was due to her personal devotion to this undertaking. The Emperor's dedication to his grandmother is well recorded in an engraved inscription dedicated to his grandmother in four different languages of Mandarin, Manchu, Mongolian and Tibetan Sanskrit, on a four-armed Avalokiteshvara Shadakshari, in the Qing Court Collection, dated by inscription to the bingyin year, corresponding to 1686, illustrated in The Complete Collection of Treasures of the Palace Museum: Buddhist Statues of Tibet, Shanghai, 2003, p.237, no.226. Indeed, it has been suggested that the group of impressive gilt-bronze bejewelled figures of Amitayus, such as the one sold at Bonhams Hong Kong, 2 June 2016, lot 9, were commissioned by the Kangxi Emperor, circa 1686, wishing long life for the his grandmother. The style of the lotus petal panels on the present gilt-lacquered wood figure of Maitreya is indeed closely related to the one seen on the Avalokiteshvara Shadakshari mentioned above; and see also a further gilt-copper-alloy figure of Manjushri, Kangxi, illustrated in Buddhist art from Rehol: Tibetan Buddhist Images and Ritual Objects from the Qing Dynasty Summer Palace at Chengde, Taipei, 1999, pp.80-81, no.19.
Compare a related lacquered and gilt wood figure of Manjushri, Kangxi, measuring overall 94.1cm high (figure 70cm, pedestal 24.1cm), which was sold at Christie's New York, 19 March 2021. See also a large gilt-lacquered wood figure of Vairocana, dated as Qianlong but likely Kangxi, measuring overall 94cm high, which was sold at Christie's New York, 15 September 2011, lot 1365.
本尊宮廷造木胎夾紵髹漆金彌勒菩薩像，面闊向右微傾，目低垂，帔帛環雙臂，佛掌置胸前捻說法相，結半跏趺坐於雙層蓮花寶座，寶相莊嚴怡然；頭戴寶冠(五葉散失)，頂挽高髮髻，雙耳戴環掛葉形璫，兩肩披落的髮辮，飄逸自然；菩薩肩寬厚，胸飽滿，氣象健頤。及腰束寶帶裙，化轉纖約婀娜，線條柔婉。周身披連珠式瓔珞，覆胸、腰，背，綴至膝腿，肆意著華美的宮廷氣息。臂、腕及腳等處，亦佩飾花葉寶相釧環，皇家造像之精雕細琢無所不在。
此尊造像莊嚴殊勝，為彌勒菩薩，意為慈愛，乃大乘佛教中釋迦牟尼佛八大近侍弟子之一。此尊彌勒菩薩像長相俊美，以王子形象坐於兜率天，發願待一切眾生解脫輪迴方成佛果。
本造像堪稱現存十七至十八世紀木漆金佛教造像的上乘之作。雖體量宏偉，原供信眾遠瞻禮拜，但匠師於細節處皆悉心經營，首重面容之靜謐慈悲，微微側首之態頓消呆板，賦予造像靈動氣韻；瓔珞珠串、釧鐲踝飾等華美裝束，盡顯風范。右足垂踏蓮台、雙足趾尖輕揚，加之雙手姿態精妙刻畫，更令整體栩栩如生。
此造像彰顯康熙帝對藏傳佛教的虔信，兼具政治與個人因素。政治上，清廷藉尊崇藏傳佛教強化與蒙藏聯盟：順治九年（1652），五世達賴喇嘛入京，反映清廷獲得格魯派對統一蒙藏佛教世界的認可。格魯派更於1640年認定滿洲統治者為文殊菩薩化身。康熙帝首度正式起用「文殊皇帝」稱號，見康熙五十九年（1720）《甘珠爾》蒙古譯本序，參見台北故宮出版《殊勝因緣：內府泥金寫本藏文龍藏探索》一書，2015年。康熙帝曾多次抄寫《心經》，又在萬壽節舉辦佛事，以及於北京、熱河、蒙藏廣建寺院。至乾隆朝，熱河發展為藏傳佛教寺院建設、經典研究及西藏外交中心。
康熙帝對藏傳佛教的崇奉，深受其祖母孝莊文皇后（1613-1688）的熏陶。這位出身蒙古貴族的虔誠佛教徒，在康熙生母孝康章皇后（1640-1663）早逝後，於四大臣輔政時期親自承擔了幼帝的教養之責。值得注意的是，清代重要的佛教典籍《甘珠爾》編譯工程，正是由孝莊文皇后親自倡議發起。康熙對祖母的孝思可見於清宮舊藏一件四臂觀音造像，為1686年丙寅年製，其上以漢、滿、蒙、藏四體文字鐫刻題記，詳見《故宮博物院藏文物珍品大系：藏傳佛教造像》，香港，2003年，頁237頁，編號226。香港邦瀚斯曾售一件清康熙銅鎏金無量壽佛坐像，2016年6月2日，拍品編號9，與其類似之一組華麗造像，或為康熙帝約1686年為祈祖母長壽所鑄。本尊彌勒菩薩像之蓮瓣紋飾，與前述四臂觀音像之風格極為近似。另可參考一件康熙款銅鎏金文殊菩薩像，載於《清宮秘藏：承德避暑山莊藏傳佛教文物特展》，台北，1999年，頁80至81，編號19。
比較一尊康熙款木胎漆金文殊菩薩像（總高94.1厘米，佛像高70厘米，座高24.1厘米），售於紐約佳士得，2021年3月19日；比較另一件木胎漆金毗盧遮那佛（總高94厘米），同樣售於紐約佳士得，2011年9月15日，拍品編號1365。此像雖定為乾隆時期，實應屬康熙時期之作。
The imposing figure superbly carved seated in
lalitasana on a two-part detachable lotus throne, the hands held in
dharmacakra mudra, the gesture of elucidation, the head slightly tilted to the right, with contemplative expression and eyes downcast, the mouth picked out in red, the long pendulous ears with ring earrings suspending palmette pendants, the hair with traces of blue pigment swept up and elegantly tressed in high chignon with loose strands falling over the shoulders, adorned with a tiara set with florets, wearing a cascading
dhoti draped over the shoulders and sweeping over the legs and tied at the waist, bejewelled with beaded necklaces, bracelets and foliate floral pendants over the chest and suspended from the belt and over the knees and around the arms and ankles, the double lotus petal panels around the throne each enclosing a
lingzhi with the reverse carved with a large single
lingzhi, the top of the throne and interior red-coloured, with traces of a label to the top and another to the interior, possibly denoting the position of the sculpture.
126cm (49 5/8in) high (3).
清康熙 御製木胎夾紵髹漆金彌勒菩薩像
Christie's Hong Kong, 27 April 1997, lot 531 (dated as 15th century)
An important East Coast collection
Collection of the master of Wu An
來源：
香港佳士得，1997年4月27日，拍品編號531（定十五世紀）
重要美國東岸私人收藏
無庵主人收藏
This majestic sculpture represents Maitreya, the Future Buddha, whose name means loving kindness, one of eight special transcendent students of the Buddha Shakyamuni in Mahayana Buddhism, known as the 'Heart-Sons". Shown here as a princely bodhisattva residing in the celestial paradise of Tushita-Heaven, Maitreya has postponed becoming a complete Buddha until all sentient beings are liberated from samsara, the cycle of death and rebirth.
The present figure of Maitreya can be counted amongst the most exceptional extant gilt-lacquered wood Buddhist figures of the 17th/18th century. Though imposing in size and a sculpture which would have been worshipped from some distance, the master craftsman has attended to every detail, first and foremost with rendering the gentle peaceful expression, coming to life with the slight tilt of the head to one side, liberating the sculpture from any rigidity. The lavish jewellery with beaded pendant necklaces, bracelets and anklets, beautifully represents the Buddha's Princely demeanour. The figure is further enlivened not only with the extended right foot over the throne, but the up-turned toes of each foot, as indeed the graceful poise of the well-detailed hands.
This figure of Maitreya powerfully represents the Kangxi Emperor's embracement of Tibetan Buddhism. This was both for political and personal reasons. On the political side, it solidified relationships with Mongol and Tibetan allies. Already during the period of the Shunzhi Emperor, the Great Fifth Dalai Lama was invited to Beijing in 1652, partly to recognise his support for the Manchus' ambition to conquer and unite China, Mongolia and Tibet into a single Buddhist realm. Preference for the Tibetan Buddhist Gelugpa, the order of the Dalai Lamas, lead to the recognition in 1640 of the Manchu rulers as emanations of Manjusri, the bodhisattva of wisdom. The Kangxi Emperor was likely the first Qing Emperor to take the title of 'Manjughosa Emperor', referring to his own bodhisattvahood in his preface to a Mongolian translation of the Kangyur, completed in 1720; see, in the Palace Museum, Taipei, A Wondrous Occasion Predestined: Unveiling the Kangxi Kangyur, Taipei, 2015. The Kangxi Emperor wrote and commissioned many copies of the Heart Sutra, supported prayers on Imperial birthdays and constructed monasteries in Beijing, Chengde (Jehol), Mongolia and Tibet. Under the Kangxi and Qianlong Emperors, Jehol became a site for temple building, study and diplomatic exchange with Tibet.
The Kangxi Emperor's personal commitment to Tibetan Buddhism could arguably be ascribed to his Mongol princess grandmother, the Grand Empress Dowager Xiaozhuang (1613-1688), and adherent of Tibetan Buddhism who was largely responsible for his upbringing during the rule of the Four Regents, following the death of his mother, Empress Xiaokangzhang (1640-1663). Indeed the creation of the magnificent Kangyur was due to her personal devotion to this undertaking. The Emperor's dedication to his grandmother is well recorded in an engraved inscription dedicated to his grandmother in four different languages of Mandarin, Manchu, Mongolian and Tibetan Sanskrit, on a four-armed Avalokiteshvara Shadakshari, in the Qing Court Collection, dated by inscription to the bingyin year, corresponding to 1686, illustrated in The Complete Collection of Treasures of the Palace Museum: Buddhist Statues of Tibet, Shanghai, 2003, p.237, no.226. Indeed, it has been suggested that the group of impressive gilt-bronze bejewelled figures of Amitayus, such as the one sold at Bonhams Hong Kong, 2 June 2016, lot 9, were commissioned by the Kangxi Emperor, circa 1686, wishing long life for the his grandmother. The style of the lotus petal panels on the present gilt-lacquered wood figure of Maitreya is indeed closely related to the one seen on the Avalokiteshvara Shadakshari mentioned above; and see also a further gilt-copper-alloy figure of Manjushri, Kangxi, illustrated in Buddhist art from Rehol: Tibetan Buddhist Images and Ritual Objects from the Qing Dynasty Summer Palace at Chengde, Taipei, 1999, pp.80-81, no.19.
Compare a related lacquered and gilt wood figure of Manjushri, Kangxi, measuring overall 94.1cm high (figure 70cm, pedestal 24.1cm), which was sold at Christie's New York, 19 March 2021. See also a large gilt-lacquered wood figure of Vairocana, dated as Qianlong but likely Kangxi, measuring overall 94cm high, which was sold at Christie's New York, 15 September 2011, lot 1365.
本尊宮廷造木胎夾紵髹漆金彌勒菩薩像，面闊向右微傾，目低垂，帔帛環雙臂，佛掌置胸前捻說法相，結半跏趺坐於雙層蓮花寶座，寶相莊嚴怡然；頭戴寶冠(五葉散失)，頂挽高髮髻，雙耳戴環掛葉形璫，兩肩披落的髮辮，飄逸自然；菩薩肩寬厚，胸飽滿，氣象健頤。及腰束寶帶裙，化轉纖約婀娜，線條柔婉。周身披連珠式瓔珞，覆胸、腰，背，綴至膝腿，肆意著華美的宮廷氣息。臂、腕及腳等處，亦佩飾花葉寶相釧環，皇家造像之精雕細琢無所不在。
此尊造像莊嚴殊勝，為彌勒菩薩，意為慈愛，乃大乘佛教中釋迦牟尼佛八大近侍弟子之一。此尊彌勒菩薩像長相俊美，以王子形象坐於兜率天，發願待一切眾生解脫輪迴方成佛果。
本造像堪稱現存十七至十八世紀木漆金佛教造像的上乘之作。雖體量宏偉，原供信眾遠瞻禮拜，但匠師於細節處皆悉心經營，首重面容之靜謐慈悲，微微側首之態頓消呆板，賦予造像靈動氣韻；瓔珞珠串、釧鐲踝飾等華美裝束，盡顯風范。右足垂踏蓮台、雙足趾尖輕揚，加之雙手姿態精妙刻畫，更令整體栩栩如生。
此造像彰顯康熙帝對藏傳佛教的虔信，兼具政治與個人因素。政治上，清廷藉尊崇藏傳佛教強化與蒙藏聯盟：順治九年（1652），五世達賴喇嘛入京，反映清廷獲得格魯派對統一蒙藏佛教世界的認可。格魯派更於1640年認定滿洲統治者為文殊菩薩化身。康熙帝首度正式起用「文殊皇帝」稱號，見康熙五十九年（1720）《甘珠爾》蒙古譯本序，參見台北故宮出版《殊勝因緣：內府泥金寫本藏文龍藏探索》一書，2015年。康熙帝曾多次抄寫《心經》，又在萬壽節舉辦佛事，以及於北京、熱河、蒙藏廣建寺院。至乾隆朝，熱河發展為藏傳佛教寺院建設、經典研究及西藏外交中心。
康熙帝對藏傳佛教的崇奉，深受其祖母孝莊文皇后（1613-1688）的熏陶。這位出身蒙古貴族的虔誠佛教徒，在康熙生母孝康章皇后（1640-1663）早逝後，於四大臣輔政時期親自承擔了幼帝的教養之責。值得注意的是，清代重要的佛教典籍《甘珠爾》編譯工程，正是由孝莊文皇后親自倡議發起。康熙對祖母的孝思可見於清宮舊藏一件四臂觀音造像，為1686年丙寅年製，其上以漢、滿、蒙、藏四體文字鐫刻題記，詳見《故宮博物院藏文物珍品大系：藏傳佛教造像》，香港，2003年，頁237頁，編號226。香港邦瀚斯曾售一件清康熙銅鎏金無量壽佛坐像，2016年6月2日，拍品編號9，與其類似之一組華麗造像，或為康熙帝約1686年為祈祖母長壽所鑄。本尊彌勒菩薩像之蓮瓣紋飾，與前述四臂觀音像之風格極為近似。另可參考一件康熙款銅鎏金文殊菩薩像，載於《清宮秘藏：承德避暑山莊藏傳佛教文物特展》，台北，1999年，頁80至81，編號19。
比較一尊康熙款木胎漆金文殊菩薩像（總高94.1厘米，佛像高70厘米，座高24.1厘米），售於紐約佳士得，2021年3月19日；比較另一件木胎漆金毗盧遮那佛（總高94厘米），同樣售於紐約佳士得，2011年9月15日，拍品編號1365。此像雖定為乾隆時期，實應屬康熙時期之作。