拍品 3066
  • 3066

唐調露元年(679 年) 石灰岩雕釋迦牟尼佛碑像 |

估價
1,500,000 - 2,000,000 HKD
招標截止

描述

  • limestone
  • 91 公分,35 3/4 英寸
款識[祉]李景[祉]婆王父李阿倫、佛弟子李慱雅、妻張一心侍、清信女慱雅、母樂金家侍、男神亮、男神意、男神則、男神會、男神範、女神妃、女神妙、亮妻賈雅、弟攵逸、妻釗女三娘、女神好等合家大小,一心侍佛。雅姑醜摩、亡姉善相見存、妹明相、妹明[天昌]、妹善[天昌]侍佛、大象主騎都尉李慱雅為波和道行男、男神亮合家眷屬,一心供養佛。敬心主慱雅毋樂為亡女供養佛。維郍主李雅妻張為西行男侍佛。則成主李攵逸為西行人等侍佛。都化主李神妃為西行兄合家侍佛。供養主李神意為行兄合家侍佛。大齋主化丘僧惠幹為法界眾。調露元年八月[卅]日造成。 左側[柳示]薦本村武顯文趙三俊。順治二年立歲次乙酉四重金粧。 右側佛弟子清信女李神妃顛身,桂敬造觀世音菩薩一區,上為天皇天下、法界眾生。

來源

L. Wannieck,巴黎
倫敦蘇富比1987月12月15日,編號42
倫敦蘇富比1996月12月17日,編號170

出版

喜仁龍,《Chinese Sculpture: From the Fifth to the Fourteenth Century》,巴黎及布魯塞爾,1926年,卷4,圖版509

Condition

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拍品資料及來源

Sensitively modelled with meticulous attention to detail and solemnly engraved with a devotional inscription, the present stele bears testimony to the development of Buddhist devotional art in China. It served as a vehicle for its fervent commissioner to accumulate merits and record their acts of devotion. With the dynamic growth of Buddhism in the fifth century, various regional devotional societies were formed across China which prompted unforeseen innovation in the production of religious art. Votive stone steles emerged as a new genre in the Buddhist sculptural repertoire that differentiates from monumental cave temple carvings.

The outstanding rendering of the religious imagery as seen on the present stele fully demonstrates the carver’s masterful skill in creating a solemn austerity appropriate for devotion whilst introducing a regional stylistic character. The sculptural quality of the full, rounded forms of the figures within the central niche beautifully contrasts with the rhythmic quality of the crisply modelled apsarases, beasts and the entwined swags of rope tassels framing the arched top. Although conforming to classic representations of veneration, the present stele demonstrates distinctive details, including the finely incised lions beside the incense burner beneath the central niche, which are usually sculpted in relief.

Compare a smaller stele dated to the third year of Yifeng period (corresponding to 678), of similar arched form and rendered with similar recumbent beasts though in low relief below the central niche, sold at Sotheby’s New York, 31st March/ 1st April 2005, lot 99. Another earlier stele dated to 595, with similar representations of the apsarases, is illustrated in Chinese, Korean and Japanese Sculpture in the Avery Brundage Collection, New York, 1974, pl. 69. See a further Tang-dynasty example included in the exhibition Ancient Chinese Sculptural Treasures: Carvings in Stone, Kaohsiung Museum of Fine Arts, Kaohsiung, 1998, pl. 64. Despite of a slightly smaller size, it draws close comparisons with the present piece in its composition, rendering of the figures and their style of drapery within the recessed niches, and the apsarases above in three-dimensional relief.

This stele was consecrated by Lady Li Tuanya, daughter of the famous Sui-dynasty military general Li Jing, alongside her family. The inscription on the main face of the pedestal can be translated as follows:

Ardently dedicated by fervent Buddhist devotee Li Tuanya, daughter of Li Jing, who is in matrimony to Zhang. The lady of pure faith, Tuanya, led her family, (including) five sons namely Shenliang, Shenyi, Shenze, Shenhui, Shenfan, with two daughters namely Shenfei and Shenmiao, Liang’s wife Jiaya, and other collateral family members to pray and dedicate service to the Buddha for the benefit of paving their way to the Western Heavens. Established by the respected bhiksu monk Huigan for the benefit of all and made on the thirtieth day of the eighth month in the first year of Tiaolu (corresponding to 679).

On the right side, an inscription flanking the portrait of Li Shenfei reads:

Disciple of Buddha and lady of pure faith, Li Shenfei, reverently commissioned a figure of Avalokiteshvara with heavenly kings and celestial beings.

The inscription on the left, signed Zhao Sanjun, denoted that the stele had been adorned with heavy gold in the 2nd year of Shunzhi, yiyou year (corresponding to 1645).