LOT 0008
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JAPAN，MEIJI PERIOD A FINE AND VERY LARGE BRONZE STATUE OF KANNON SEATED ON A ROCK
高162cm
作品估价：EUR 2,500-3,500
货币换算
成交状态：未知
买家佣金拍卖企业在落槌价的基础上收取买家佣金
37.5%
图录号：
0008
拍品名称：
JAPAN，MEIJI PERIOD A FINE AND VERY LARGE BRONZE STATUE OF KANNON SEATED ON A ROCK
年 代：
JAPAN，MEIJI PERIOD
尺 寸：
高162cm
拍品描述：
Seated on a large bronze pedestal designed to resemble a rock formation，her head turned slightly to the side. She is draped in a long robe that falls in flowing folds，partially covering her feet，with only the tips of her toes visible. Her neck is adorned with an elaborate chain necklace，and in her right hand she holds an Amrita flask containing the elixir of life，which has been repurposed as a water spout. Her facial features radiate grace，with almond-shaped，downcast eyes，a delicate nose，and full lips. Atop her head，she wears a tiara adorned with floral motifs，and her hair is elegantly styled into a chignon. Mounted on lava rock.
PROVENANCE
Acquired by Bayer from Bernheimer by Carl Duisberg prior to 1930 - Partial age damage and surface change due to many years of presentation in the park
The figure of Kannon in Japanese Buddhism traces its origins to the Indian Bodhisattva Avalokiteshvara，a male deity associated with karu.ā (universal compassion) and venerated as the patron protector of Tibet. From the 1st or 2nd century CE，the cult of Avalokiteshvara gradually spread across East Asia，reaching China，Korea，Japan，and other regions influenced by Mahāyāna Buddhism. During this transmission，Avalokite.vara underwent a significant transformation. In the context of East Asian Mahāyāna Buddhism，the Bodhisattva came to be represented increasingly in female form，particularly as Guānyīn in China and Kannon in Japan. The worship of Kannon in Japan began in the late 6th century，following the introduction of Buddhism from the Korean peninsula via China. Although the figure was originally conceived as male，vari-ous cultural and religious influences contributed to a gradual feminisation of the deity’s iconography. The popularity of indigenous female divinities，such as the Daoist Xīwángmǔ (“Queen Mother of the West”)，played a key role in this shift. By the 9th and 10th centuries，depictions of Guānyīn as a female figure had become widespread，particularly in northwestern China. Later，in the 16th century，Jesuit missionaries arriv-ing in East Asia brought with them images of the Virgin Mary，further informing local artistic interpretations of Guānyīn and Kannon. According to legend，the paradise accessible through devotion to Kannon is known as Fudaraku-sen，believed to be situated at the southern tip of the Indian subcontinent.
PROVENANCE
Acquired by Bayer from Bernheimer by Carl Duisberg prior to 1930 - Partial age damage and surface change due to many years of presentation in the park
The figure of Kannon in Japanese Buddhism traces its origins to the Indian Bodhisattva Avalokiteshvara，a male deity associated with karu.ā (universal compassion) and venerated as the patron protector of Tibet. From the 1st or 2nd century CE，the cult of Avalokiteshvara gradually spread across East Asia，reaching China，Korea，Japan，and other regions influenced by Mahāyāna Buddhism. During this transmission，Avalokite.vara underwent a significant transformation. In the context of East Asian Mahāyāna Buddhism，the Bodhisattva came to be represented increasingly in female form，particularly as Guānyīn in China and Kannon in Japan. The worship of Kannon in Japan began in the late 6th century，following the introduction of Buddhism from the Korean peninsula via China. Although the figure was originally conceived as male，vari-ous cultural and religious influences contributed to a gradual feminisation of the deity’s iconography. The popularity of indigenous female divinities，such as the Daoist Xīwángmǔ (“Queen Mother of the West”)，played a key role in this shift. By the 9th and 10th centuries，depictions of Guānyīn as a female figure had become widespread，particularly in northwestern China. Later，in the 16th century，Jesuit missionaries arriv-ing in East Asia brought with them images of the Virgin Mary，further informing local artistic interpretations of Guānyīn and Kannon. According to legend，the paradise accessible through devotion to Kannon is known as Fudaraku-sen，believed to be situated at the southern tip of the Indian subcontinent.