元末/明初 銅菩薩坐像

assis en rajalilasana, le bras droit sur son genou relevé tenant une perle entre le pouce et l'index et la main gauche reposant sur une tablette posée sur le côté, le visage rond aux yeux baissés en méditation, le nez aquilin et les lèvres charnues, encadré par de longs lobes d'oreille percés ornés de boucles, le front ceint d'un fin diadème ruyi, les cheveux coiffés en arrière formant de longues mèches tombant le long des épaules recouvertes d'une étoffe plissée, le torse orné d'une parure de perles, les jambes couvertes d'un vêtement noué à la taille aux bordures incisées de motifs floraux, traces de laque rouge à la patine, socle en bois (2)

Formerly in a French private collection (by repute).
Acquired in Paris in the 1950s.

The figure's left foot was broken off and soldered back on in the past. There are additional rivets to further hold the foot in place, one of them lost. The tip of the flowing ribbon on the figure's left side is mising and on the figure's right side the end of the ribbon and a piece of the ribbon are missing. The tip of the longer braid of hair falling over the figure's left shoulder and arm is missing. The tip of the central ornament of the diadem is missing. There are minute traces of gilding in the recesses parts of the casting of the figure's body. The bronze surface shows remains of several layers of pigments/lacquer, the top layer a deep red colour which may have been later added. The figure is heavily cast, the bronze patinated to a beautiful darkish bown colour. It has beautiful proportions and the face a serene expression.
"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."

糅合中國與印度-喜馬拉雅風格之佛教造像，興起於元代後期，本品鑄工精巧，刻畫入微，實屬其中佳例。本像身披衣袍呈現體態；面型方正，束長髮辮，乃尼泊爾造像典型；手足豐腴，則取自中國傳統，雙肩寬厚，細腰長腿，尤見中式佛像造型特色。

本像作遊戲坐姿，手持摩尼如意珠，代表心神明淨無瑕，似為水月觀音造型。據述，水月觀音源於唐代畫作，畫作現已失傳。古時藝匠據此類畫創作觀音造像，於宋代尤為流行，詳見Angela Falco Howard等，《Chinese Sculpture》，紐黑文，2006年，頁388。月亮，有說為水之主宰，運行於宇宙之間，世間生物賴以存活。佛家亦有所謂水中月，以喻世情虛幻，諸法無有實體。現時雖無經典證實觀音與上述比喻直接相關，但有人認為，此形像乃取材自佛家以外之學說。

《華嚴經》記載，善財童子參謁觀自在菩薩，前行至普陀洛迦山，觀音坐於巖谷之中，結跏趺坐，遊戲坐姿或源於此。《華嚴經》於公元十世紀傳入中土，遊戲坐姿亦於同期發展出現，比較Derek Gilman，，《Transactions of the Oriental Ceramic Society》，卷47，1982-83年，頁32-44。

比較一例，現藏於Art Gallery of New South Wales，圖見Edmund Capon，《Art Gallery of New South Wales: Highlights from the Collection》，悉尼，2008年，圖版169。或可比較一水月觀音造像，尖髮髻，現藏於Royal Ontario Museum，曾展於《忽必烈的世界:中國藝術在元朝》，紐約大都會博物館， 2010年，編號149，另一例藏於Asian Art Museum of San Francisco，載於《海外遺珍》，台灣，1990年，圖版164。此外尚可參考菩薩坐像，身軀修長，盤腿而坐，衣袍紋飾相若，曾售於香港佳士得1999年11月2日，編號770。