- 484
日本七 / 八世紀 乾漆夾紵梵天頭像
估價
30,000 - 40,000 USD
招標截止
描述
- Lacquer
the serene face with narrow eyes and meditative aura, below high sculptured arched eyebrows continuing from the straight nose and full sculpted lips above a triple chin and round neck, the ears of simplified rectangular forms, below the hair arranged in sections and piled into a tall chignon, all covered with grayish black lacquer
Condition
There are extensive age cracks to the hair just above the forehead and some smaller age cracks to the top knot visible in the catalogue illustration. The back of the head has a long crack, approximately 12 in. (30.5 cm) with associated chips, two chips approximately 3/4 in. by 3/8 in. (2 by 1 cm) and revealing the hemp inside.There is extensive loss to the black lacquer on the nose, right of the lip, around the eyes, and the front and back of the neck.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
拍品資料及來源
When Buddhism entered China and traveled to Japan, Hindu deities also made the journey and many were adopted into the Chinese and Japanese Buddhist pantheons. In Japan, Brahma is known as Bonten and is one of theTwelve Deva, often portrayed with Indra. An example of a pair of 8th century dry lacquer figures of Brahma and Indra is illustrated in Rene-Yvon Lefebvre de'Argence, Chinese, Korean and Japanese Sculpture in the Avery Brundage Collection, Tokyo / New York, 1974, no. 197.
The dry lacquer technique for making images originated in China, and in Japan it was employed for producing Buddhist sculptures in the 7th and 8th centuries, but was not used much after the Heian period as the process was time consuming and costly.
The dry lacquer technique for making images originated in China, and in Japan it was employed for producing Buddhist sculptures in the 7th and 8th centuries, but was not used much after the Heian period as the process was time consuming and costly.
Many of the sculptures made with this method still exist in the Hokke-do (Sangatsudo) of the Todaiji temple (Fuku kensaku Kannon zo or Amoga Pasha, Bonten Taishakuten zo or Brahma and Indra and Shitennoji or Four Heavenly Kings), in Kofukuji temple (Hachibu shu ritsuzo or Eight legions) and in Toshodaiji (Priest Ganjin ) in Nara. The oldest example in Japan is the Shitennoji or the Four Heavenly Kings in the Golden Hall of Taimaji temple. These are believed to have been made circa 681.
Examples of sculpture made from this method can be seen in the seated Bodhisattva, circa 775, in the Art Institute of Chicago, and the head of Bodhisattva, 8th century, in The Cleveland Museum of Art.