Statue de Guanyin en bronze doré Dynastie Ming, XVIIE siècle | 明十七世紀 鎏金銅觀音菩薩坐像 | A large gilt-bronze figure of Guanyin on a lotus base, Ming Dynasty, 17th century
30,000 - 40,000 EUR
Collection Particulière Française | 法國私人收藏
30,000 - 40,000 EUR
Collection Particulière Française
Statue de Guanyin en bronze doré Dynastie Ming, XVIIE siècle
A large gilt-bronze figure of Guanyin on a lotus base, Ming Dynasty, 17th century
assise en dhyanasana, les mains en vitarka mudra, la gauche au-dessus de l'aine tenant un bol patra, vêtue d'une ample robe monastique aux bordures finement incisées de motifs floraux, le torse découvert paré de bijoux, le visage charnu en méditation flanqué de longs lobes d'oreilles percés de boucles rondes et surmonté d'une couronne ouvragée abritant une figure miniature du Bouddha Amitabha, assis sur une base associée en bronze doré sphérique lotiforme à neuf rangées de pétales, surmontant une tige émergeant d'un piédestal hexagonal à balustrade ajourée
34,2 cm (55,1 cm avec le socle), 13½ in. (21¾ in. with the base)
34.2 公分（連座 55.1 公分）， 13½英寸 （連座 21¾英寸）
Figure, lotus base and hexagonal stand are made separately. The figure and the stand can be disassembled in two parts. The figure is in very good overall condition. It is heavily cast with very fine detailing to the robes and covered in a rich gilding. The end of two strand of hair falling over the figure's left shoulder, one tip of the crown and the tip of the stalk of willow leaf in its right hand have broken off and are now missing. There are some minor scattered filled-in casting flaws to the stand and to the figure (left arm, knees essentially). Part of the rim of the small vessel held in the figure's left hand is shows signs of a casting flaw. There are traces of red pigment to some in the hair dress. The lotus base is in good condition.
There is minor overall wear to the gilding. The figure does not sit well within the confined outline of the lotus base. The figure alone measures 33 cm and the stand 22,2 cm.
中文內容僅供參考, 請以英文原版為準。 佛像、蓮花座及底座分開鑄造，佛像及架子可分為兩部分。佛像品相良好，衣袍鑄造精細，鎏金厚重。左肩頭髮末端、頭冠其中一處頂端及右手柳葉莖尖端破損並缺失。底座、左手臂、主要在左膝見鑄造瑕疵經填補。觀音手中净水瓶口沿見鑄造瑕疵。頭髮中仍見硃砂痕跡。蓮花座品相良好。金面見輕微磨痕。佛像和蓮座不很合。佛像單獨尺寸為33公分，底座22.2公分。
"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."
Acquired by the grandparents of the present owner, probably in Germany ca. 1980, and thence by family descent.
This gilt-bronze figure of Guanyin is noticeable for its crisp casting and well preserved mercury gilding. According to the Lotus Sutra, Avalokitesvara can take any form necessary to save sentient beings. Thirty-three manifestations of Avalokitesvara are mentioned and are known to have been very popular in Chinese Buddhism as early as the Sui and Tang Dynasties. The present lot depicts the Bodhisattva in the manifestation known as Bhaisajyaraja Avalokitesvara, known as the ‘Willowleaf’ Guanyin in Chinese. In this form the Bodhisattva holds a vial or bowl of elixir in the left hand and a stalk of willow leaves in the right. The elixir is believed to cure all physical and spiritual illnesses, and this iconographic form was popular among devotees wishing for good health.
Buddhist gilt-bronze figures were produced in China almost from the beginning when Buddhism was embraced by various courts of China’s division after the Han dynasty (206BC – AD220). Until the Tang dynasty (607-906) however they remained very small. One of the earliest developments away from small votive images took place in the Khitan Liao dynasty (907-1125), when sculptures not only became bigger but also developed stylistically towards a more sculptural aesthetic. During the early Ming period the court took complete control of their production and a distinct classic style was devised that were determine the design of all future Chinese Buddhist gilt-bronze images such as the present.
Other related Ming dynasty Guanyin in similar manifestation include an exemple sold in our rooms 10th June 2014, lot 89. Compare also another Ming Guanyin sold our London room, 7th November 2018, lot 66, and a larger Guanyin sold in these rooms, 31st March 2017, lot 108, from the collection of Monsieur Erik le Caruyer de Beauvais.