View full screen - View 1 of Lot 51. A rare limestone carving of a Buddhist acolyte, possibly Jianglong Luohan Northern Song dynasty, 10th-11th century | 北宋十至十一世紀 石灰石浮雕或為降龍羅漢像.
51

A rare limestone carving of a Buddhist acolyte, possibly Jianglong Luohan Northern Song dynasty, 10th-11th century | 北宋十至十一世紀 石灰石浮雕或為降龍羅漢像

Estimate:

40,000

to
- 60,000 EUR

Property from a French private collection, Rhône-Alpes | 法國私人收藏

A rare limestone carving of a Buddhist acolyte, possibly Jianglong Luohan Northern Song dynasty, 10th-11th century | 北宋十至十一世紀 石灰石浮雕或為降龍羅漢像

A rare limestone carving of a Buddhist acolyte, possibly Jianglong Luohan Northern Song dynasty, 10th-11th century | 北宋十至十一世紀 石灰石浮雕或為降龍羅漢像

Estimate:

40,000

to
- 60,000 EUR

Property from a French private collection, Rhône-Alpes

A rare limestone carving of a Buddhist acolyte, possibly Jianglong Luohan

Northern Song dynasty, 10th-11th century


the young monk, possibly Jianglong luohan, depicted in high relief standing on a lotus pedestal, holding a dragon in his right hand, his face with downcast eyes and long pendulous earlobes detailed with a benevolent smile

66 cm, 26 in.

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Rare relief en pierre calcaire sculptée d'un acolyte bouddhiste, probablement Jianlong luohan, dynastie des Song du nord, XE-XIE siècle

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法國私人收藏

北宋十至十一世紀 石灰石浮雕或為降龍羅漢像


66 公分, 26 英寸

Small old break and losses to the craving, otherwise in overall good condition.


中文內容僅供參考,請以英文原版為準。整體品相良好,惟見細小舊裂及缺損。


"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 in Paris rive gauche antiquarian district during the 1980s (by repute).

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傳於八十年代得自巴黎左岸古董店區

This finely carved figure, here depicted with exceptional naturalism holding a dragon, probably represents one of the Eighteen Luohan, considered to be the Elders of Buddhism and students of the historical Buddha Shakyamuni. Especially revered by followers of Chan Buddhism, they became an important part of all schools of thought, including Tiantai, Pure Land and esoteric Buddhism. As hermits who enjoyed nature they equally represented all that was revered by Daoist followers. 

It possibly depict Jianlong Luohan [Qinyou] who is known to have tamed a dragon and often depicted either sitting on it or holding it in his grasp as in the present sculpture.


Compare the treatment of the present figure, depicted in high relief and three quarter profile, with the Buddhist procession of three musicians and one dancer preserved at the Freer gallery of Art in Washington D.C., acquired from Yamanaka and Co in 1924 and dated to the Northern Song dynasty, 10th-11th century, published in Agnes E. Meyer, The Charles L. Freer Collection. vol. 12, no. 2, Brooklyn, August 1927. p. 71, and in Martha Davidson, Great Chinese Sculpture in America, 1939 Annual, vol. 37, no. 22, New York, pp. 71-84, 174-176, fig. 26. (fig.1).


Compare a Song dynasty stone Luohan carved with a dragon on its base, from Zhiluo pagoda in Fuxian near Yan'an, Shaanxi, illustrated in Yan’an Songdai shiku yishu [Art from Song caves in Yan’an], Xi’an, 1983, p. 109.

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比較華盛頓D.C. Freer Gallery of Art收藏一佛教石雕例,以高浮雕技法刻劃三樂手及一舞者,1924年購自山中商会,斷代北宋十至十一世紀,載於Agnes E. Meyer,《The Charles L. Freer Collection》,卷12( 2),布魯克林,1927年8月,頁71及 Martha Davidson,《Great Chinese Sculpture in America》,1939年刊,卷37( 22),紐約,頁71-84、174-176,圖26 


比較陝西省延安市富县直羅塔藏一例宋代石雕羅漢坐像,刻龍於座,圖載於《延安市宋代石刻藝術》,西安,1983年,頁109