A gilt-bronze figure of Padmapani, Tang Dynasty

唐 鎏金銅蓮華手觀音坐像

Details

A gilt-bronze figure of Padmapani
Tang Dynasty
唐 鎏金銅蓮華手觀音坐像

Height 10⅞ in., 27.6 cm.

PROVENANCE
Yamanaka & Co., Inc.
Parke-Bernet Galleries, Inc., New York, 26th May 1944, lot 505.
Collection of Mrs. Alice Spalding Bowen (1890-1981).
Honolulu Museum of Art, Honolulu, 1953-1967.
Collection of Robert H. Ellsworth, New York, 1967-1972.
Collection of Christian Humann (d. 1981), New York, by 1972, named the Pan-Asian Collection by 1977.
Collection of Robert H. Ellsworth, New York, acquired in 1982.
Christie's New York, 17th May 2015, lot 15.

來源
山中商會
Parke-Bernet Galleries,Inc.,紐約,1944年5月26日,編號505
Alice Spalding Bowen 夫人 (1890-1981)收藏
檀香山藝術博物館,檀香山,1953至1967年
安思遠收藏,紐約,1967至1972年
Christian Humann(1981年逝)收藏,紐約,1972年之前,1977年之前改名為 Pan-Asian 收藏
安思遠收藏,紐約,得於1982年
紐約佳士得2015年5月17日,編號15

EXHIBITED
Nihon Kotoji Shina Bijutsu Tenrankai [Exhibition of Japanese Ceramics and Ancient Chinese Art], Yamanaka & Co Ltd., Osaka Bijutsu Club, Osaka, 1934, cat. no. 59.
Collection of Chinese and Other Far Eastern Art, Yamanaka & Company, Inc., New York, 1943, cat. no. 111.
Denver Art Museum, 1972-1983 (on loan).
Reflection and Enlightenment: Chinese Buddhist Gilt Bronzes from the Jane and Leopold Swergold Collection, Museum of Fine Arts, Houston, 2017-2018.

展覽
《日本古陶磁支那古美術展覧会》,山中商會,大阪美術俱樂部,大阪,1934年,編號59
《Collection of Chinese and Other Far Eastern Art》,山中商會,紐約,1943年,編號111
丹佛美術館,1972至1983年(借展)
《Reflection and Enlightenment: Chinese Buddhist Gilt Bronzes from the Jane and Leopold Swergold Collection》,休士頓美術館,休士頓,2017至2018年

LITERATURE
Comprehensive Illustrated Catalogue of Chinese Buddhist Statues in Overseas Collection, vol. 5, Beijing, 2005, pl. 910.

出版
《中國流失海外佛教造像總合圖目》,卷5,北京,2005年,圖版910

This large finely cast figure can be identified as Padmapani, a manifestation of the bodhisattva Avalokiteshvara, by the lotus blossom at the left shoulder. Depicted seated in lalitasana adorned in sumptuous beaded jewelry with hair pulled into a high top knot, the sculpture embodies the style of the high Tang period, with its sensitive treatment of the natural curves and flow of the body. This representational mode was influenced by Indian art, and the characteristics include a rounded face, well-modeled cheeks, a subtly sensuous silhouette, and opulent jewelry. Compare a seated bodhisattva in similar posture, illustrated in Saburo Matsubara, Chinese Buddhist Sculpture, Tokyo, 1966, pl. 269.
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