明十七世紀 銅鎏金觀音坐像

the figure seated in dhyanasana the right hand holding a willow stem, the left holding a bowl of elixir, wearing loosely fitted robes hemmed with scrolling lotus and open at the chest to reveal a necklace, the face with a serene downcast expression and wearing a crown with Amitabha set into the centre

This impressive bronze is in good condition but does have some areas of minor rubbing to the gilding to the feet, legs hands and body, there are various nicks and scratches throughout, which is consistent with its age.
"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."

本品宏偉碩大，金彩流麗整潔。觀音面部表情平靜安詳，如《妙法蓮華經》中記載，觀音法力無邊，化身千萬普渡眾生，本品為楊柳觀音，左手持一盌甘露解凡間危疾苦難，右手持柳枝灑甘露驅逐邪妖。

漢朝以後，群雄鼎立共分天下。時佛教初傳入中土，受各國朝廷尊崇，已始興鎏金銅像等佛教藝作。然至唐一朝，造像仍相對較小巧，及至遼代，契丹入主中原，較大型的佛教造像才逐漸出現，與此同時，風格漸趨簡約。然觀本尊，論其宏偉碩大，實可與較廉價之木雕塑像媲美，遼代鎏金銅像卻相形稍遜。明初。朝廷大興工藝事業，時鎏金佛像風格別開生面，技藝登峰造極，成就空前，為後朝奠定佛像經典。

紐約佳士得曾於1979年11月21日售出一與此品尺寸相當的銅鎏金觀音坐像，編號410；香港佳士得曾於1995年4月30日售出一例，嵌寶更豐富，編號606A；倫敦佳士得則於1981年4月29日售出另一例，編號89。紐約蘇富比曾於1992年12月1日售出一尺寸略小之類例，編號196；1990年10月18日又售出兩例，編號195及197。