清乾隆 楠木樓閣式三連供龕連鎏金銅無量壽佛坐像三尊

the three figures of the long-life deity depicted appearing in sambhogakaya, or apparitional manifestation of the Buddha Amitabha (immeasurable light), wearing celestial adornments and with hands clasped in samadhi mudra holding a long-life vase (Tib. tsebum), each seated in vajraparyankasana on a tiered and angled pedestal with a tripartite screen behind finely decorated with golden motifs, the throne further placed within an elaborately carved nanmu shrine with a gilt-bronze ratna finial and three glazed windows framing the deities

The three Buddhas are made partly in repoussé (the bases) and partly with cast elements (torso /arms and heads) that have been assembled together.‎ The three Buddhas appear to have been re-consecrated during the second half of the 20th century, with 'sutra' scrolls and incense sticks set inside each figure (photographs available upon request) and resealed. The base plates are likely to be later replacement. The 'nammu' stand and the shrine cabinet have also been extensively refurbished probably on the same occasion, with repairs and reconstructions showing, especially to the top of the 'nanmu' stand on the underside and along the sides where some sections appear to be made of a wood with a different grain. The cabinet itself is old but may well be associated to the Buddhas.Otherwise the three figures are generally in good condition. The upper sections of the bodies are made of gilt bronze and have been further painted with cold gold in the typical Tibetan tradition. The lower bodies, the earrings, crowns billowing scarves as well as the locks of hair curling over their shoulders are all made in the repousse technique. The crowns and vases each deity holds in their hands can be removed. There is some slight wear and oxidation to the cold gilding predominantly to the arms of the figures. Further occasional rubbing to the cold gilding on the figures, as well as to the blue pigment on the hair. The bases are sealed and secured with three screws except for one of the figures where the screws are missing. The base plates itself are likely to be later replacements.The cabinet itself is distressed as visible on the catalog photo. Several elements of the openwork cresting as well as the lower openwork rail surrounding the cabinet are missing. The three sliding doors closing the cabinets are generally in good condition. Two of them are still mounted with an ol glass window while the third one seems to have a replaced glass window.
"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."

多間式無量壽無佛的供龕盛行於清朝，承德避暑山莊至少藏五例，材質各異，有如此龕用木，也有掐絲琺瑯、鎏金銅等。見張宏實及徐盼蘋，《清宮秘藏 : 承德避暑山莊藏傳佛敉文物展圖錄 》，觀思文物藝術公司，台灣，1999年，頁62-3，編號12-1、12-2；頁181，編號80；頁203，編號92 （圖一）；頁215，編號98.。頤和園至少藏四座單間式木雕佛龕，可見以無量壽佛為主題的佛龕於乾隆朝廷之普及以及重要性，見前書頁191-3，編號86-7；頁197-9，編號89-90。

此龕中的無量壽佛根據西藏的傳統方法以泥金飾佛身，與帶銀調的鎏金瓔珞、腕釧、帛帶及須彌座形成對比。三尊佛像端坐於長方底座，背有三扇屏，屏上描金繪蓮花卷草紋，可作比較一例，見前書頁202，編號92。佛像供奉於木質供龕內。佛龕三連式，頂飾鎏金寶珠鈕，邊沿刻花草紋，每間一玻璃窗口，可比較一例，見前書頁215，編號98。從此品及避暑山莊佛龕上這些共同特色所見，類似的佛龕及有可能均製造於承德。頤和園所藏之不同類型的無量壽佛供龕，多不見於北京宮廷，亦未見於其他佛教寺院。

無量壽佛也許是藏傳佛教中最流行，最多被供奉的長壽尊神，在此供龕中以佛陀的三身體現。無量壽佛，又名無量光佛、阿彌陀佛，身披帛帶，跏趺端坐於須彌座，兩手於臍下結定印，手捧長壽寶瓶。

此三尊無量壽佛均以常見的金剛跏趺坐姿體現。另有立像，結定印，手捧缽，髮長及足踝象徵長壽。無量壽佛有時與頂髻尊勝佛母及白度母同時出現，合稱「長壽三尊」，主長壽。