宋 銅觀世音菩薩半迦像

seated in laitasana with the swaying torso depicted leaning against an armrest on his left, the right arm resting on his raised right knee and the lowered left leg supported on a lotus flower, dressed in a voluminous dhoti gathered at the waist, opening at the chest to reveal a beaded necklace, the shoulders draped with a celestial scarf billowing in the wind, depicted holding a mani pearl, the head inclined with a benevolent facial expression, crowned by an elaborate diadem before a high chignon, traces of original gilding, wood stand

As visible in the catalogue photo, there is typical oxidatisation and pitting to the bronze surface. The gilding is rubbed but there are still traces of the original pigment. There is a loss to the tip of the right side of the scarf. Other minor losses to the lower tops of the design and bruising. There are minor chips and losses to the wood stand. Please note that this lot comes with a thermoluminescence test result (no. N115a44) which is consistent with its dating.
"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."

銅觀世音菩薩像，半迦姿態自在悠然，面容刻劃細緻優雅，袍帶柔逸，瓔珞滿綴，甚是珍罕。最為相近者應屬佛格藝術博物館藏一尊銅觀世音菩薩像，原為 Greville L. Winthrop 舊藏，錄於 Hugo Munsterberg，《Chinese Buddhist Bronzes》，紐約，1967年，圖版68。頁70作者論及此像「應屬最為重要之宋朝觀音坐像，風格經典具代表性，線條自然柔和，宛若繪畫」。

銅造像鮮有半迦跌坐者，較常見於宋代木雕，多為水月觀音造像，取材唐朝繪畫，呈現菩薩光明自在，清淨無礙之姿。據傳匠人以佛畫為雛本而造，通宋一朝大為盛行。詳細討論參考 Angela Falco Howard 等著，《Chinese Sculpture》，紐黑文，2006年，頁388。月行渾天，有控制萬物潮水之能，佛經亦見水中月，象徵世物皆空。然典籍無載觀世音菩薩與水中月之直接關連，水月觀音的形象應是佛教經典之外衍生而來。

半迦姿態應出自《華嚴經》中善財童子為求道，遠赴普陀洛迦山求見觀世音菩薩，菩薩半迦坐於石窟，與其辯證佛理。十世紀以來，隨著《華嚴經》的普及，半迦佛姿更多見於造像藝術，參考 Derek Gilman，〈A New Image in Chinese Buddhist Sculpture of the Tenth to Thirteenth Century〉，《東方陶瓷學會彙刊》，卷47，1982-83年，頁32-44。

鎏金銅作例可比較皇家安大略博物館珍藏著名「水月觀音」像，展出於《The World of Khubilai Khan. Chinese Art in the Yuan Dynasty》，大都會藝術博物館，紐約，2010年，編號149。並參考一件尺寸較小銅觀世音菩薩像，刊於 Munsterberg，前述出處，圖版69，現藏弗利爾美術館。大英博物館亦有一件鎏金銅例，出自 Oppenheim 舊藏，載於烏爾裡希．馮．施羅德（Ulrich von Schroeder），《Indo Tibetan Bronzes》，香港，1981年，圖版143D，斷為明初造像。

此編號備有牛津大學熱釋光測試證明書以確認其鑑定年代，測試編號為N115a44。