Dharma & Tantra

Dharma & Tantra

View full screen - View 1 of Lot 103. A gilt-copper alloy figure of Shakyamuni Buddha, Nepal or Tibet, circa 14th century | 尼泊爾或西藏 約十四世紀 銅合金鎏金釋迦牟尼佛坐像  .

Property from an American Private Collection

A gilt-copper alloy figure of Shakyamuni Buddha, Nepal or Tibet, circa 14th century | 尼泊爾或西藏 約十四世紀 銅合金鎏金釋迦牟尼佛坐像 

Auction Closed

September 20, 03:13 PM GMT

Estimate

200,000 - 300,000 USD

Lot Details

Description

A gilt-copper alloy figure of Shakyamuni Buddha

Nepal or Tibet, circa 14th century

尼泊爾或西藏 約十四世紀 銅合金鎏金釋迦牟尼佛坐像



Himalayan Art Resources item no. 13801

HAR編號13801


Height 10¾ in., 27.3 cm

William H. Wolff, New York, 1966.

Collection of Frank (1912-2005) and Dorothy (1915-2006) Neustatter.

Sotheby's New York, 23rd March 2000, lot 50.


William H. Wolff,紐約,1966年

Frank (1912-2005年) 及Dorothy (1915-2006年) Neustatter伉儷收藏

紐約蘇富比2000年3月23日,編號50

Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, pl. 98C.


烏爾里希·馮·施羅德,《Indo-Tibetan Bronzes》,香港,1981年,圖版98C

Nepal: Where the Gods are Young, Asia Society, New York, 1975, cat. no. 5.


《Nepal: Where the Gods are Young》,亞洲協會,紐約,1975年,編號5

The intricate quality of the beaded patchwork on the sanghati of this exquisitely cast sculpture of Shakyamuni Buddha is exceptional, and no close comparison can be found in any private or museum collection. The Buddha is traditionally cast seated in meditation (dhyanasana) on a beaded double-lotus throne, with hands in dharmachakramudra, symbolizing the first sermon at Sarnath, when the Wheel of the Dharma was set in motion. In the catalogue of the Asia Society exhibition, Where the Gods are Young, New York, 1975, p. 71, Pratapaditya Pal suggests that the high-relief pattern of the rectangles on garment is intended to resemble patchwork, following the tradition of the Buddha and other monks wearing garments sewn together from old clothes given to them by lay people, with the patchwork resembling the segmented rice fields of Magadha.


The provenance of the present Buddha is intriguing, given that it is unquestionably Nepalese in all artistic respects, and yet it retains a gilded copper 'sealing plate' engraved with a visvavajra, a feature commonly associated with Tibetan consecrational practice. It is therefore likely that its commission was Tibetan, but that the artist responsible was Newar or one well versed in Nepalese artistic idioms.


銅鎏金釋迦摩尼佛坐像,細緻傳神,佛身袈裟百衲、衣褶,描繪入微,現知公私收藏中無見近例。釋迦摩尼佛跏趺坐於仰覆蓮座上,雙手結說法印。紐約亞洲協會展覽《Where the Gods are Young》,紐約,1975年,頁71,Pratapaditya Pal 論及,佛像袍服上高浮雕長方形塊紋,傚擬佛教傳統僧衣百衲,意味其以信眾捐贈之舊衣料綴補而成,Pal 在文中進一步提出,方格紋飾亦形似古印度摩揭陀一帶稻田之景。


釋迦摩尼佛坐像,風格無疑傳承自尼泊爾造像藝術,然鎏金封底銘刻雙金剛杵紋,多與藏傳造像供奉儀式相關。以此推估,本像或為西藏寺院訂製,由內瓦爾工匠所造,遂得其風。