東魏 鎏金銅飛天像殘件

cast as an apsaras depicted with her knees and elbows bent as though gliding swiftly, the flying angelic being adorned with long billowing sashes fluttering over her body, the serene expression framed by elegantly coiffed hair and a circular halo pierced with a small aperture, mounted wood stand

佐藤玄々（1888-1963年）收藏

As visible in the catalogue photo, the apsaras is a fragment. There is a 2.5cm crack to the right side. Drilled hole in the halo for mounting. Rubbing to gilding.
"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."

Figures of apsarases descending to scatter flowers or to play heavenly music were used to enliven and animate votive altars, Buddhist triad groups and cave niches. The principle registers of the Buddha with attendant bodhisattvas and luohan were strictly controlled in their depiction and iconography by source texts and sutras. In contrast,the depiction of the peripheral elements in sculptures of various media and cave paintings was seized upon by artisans to show their prowess and experiment with the boundaries of pictorial convention. Although fragmentary and originally part of a larger frieze, probably an altar piece, this is a delicate and striking sculpture in its own right.

Another bronze sculpture of an apsaras in the Nelson-Atkins Museum of Art, Kansas City, is illustrated in Hugo Munsterberg, Chinese Buddhist Bronzes, Tokyo, 1967, pl. 97. The apsarases on both sculptures are depicted in a similar position of dynamic motion, combining the linear emphasis of Wei sculpture with a deeply spiritual aspect. For a depiction of an apsaras in stone, see the Northern Qi limestone fragment, also from the collection of Sakamoto Gorō, sold in these rooms, 8th October 2013, lot 115.