拍品 129
  • 129

十二 / 十三世紀 西藏 鎏金銅合金波羅式蓮花手觀音菩薩立像

估價
60,000 - 80,000 EUR
招標截止

描述

  • bronze
sur une double base lotiforme, debout en tribhangasana, la main droite bénissante en varada mudra et la main gauche tenant une longue tige de lotus s’épanouissant près de l’épaule, la chevelure soigneusement nouée en jatamukata, couronné d’une petite effigie d’Amithaba, le front orné du troisième oeil, des rubans retombant derrière les oreilles, les mèches de la coiffure détaillées à l’arrière de la tête, des traces de pigment bleu dans les cheveux, le diadème révélant un haut chignon de style Pala avec des traces de polychromie bleue

Condition

The figure is heavily cast with traces of gilding across the body and feet and the recesses parts of the casting. There are traces of blue pigment to the hair. The colour of the metal is of a darker brown tone than the catalogue illustration suggests.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

拍品資料及來源

The bodhisattva is identified by the diminutive figure of Amitabha on the central crown leaf. The bronze is styled after eastern Indian Pala period and Nepalese Transitional period sculptures, cf. a twelfth century bronze of Padmapani in the Nye thang monastery collection that exhibits both Indian and Nepalese stylistic traits, see Ulrich von Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2001, p. 314, pl. 108A. The textile designs on the robe and the crown style are closer to the Newar bronzes of the period, as is the lowered left hand that is common throughout Nepalese Licchavi and Transitional period sculptures of the standing bodhisattva, cf. the mudra, the elegant tribangha posture and the crown and jewellery style of a 12th century Transitional period Nepalese Padmapani at Gyantse, ibid, p. 517, pl. 169C.