This Zhongmao Shengjia 2022 Spring Auction "Mu Lin - Ancient Buddhist Art" special auction brings together dozens of outstanding sculptures with various postures, spanning thousands of years, involving India and Himalayas The main areas for the development of Buddhist art history, all of which are A concrete expression of the spirit of Buddha . When we explore the truth about the Buddha's practice more than 2,000 years ago, as an enlightened person, he told us through his personal experience: How can we talk about being born in the world without being in the world. The so-called Buddha Dharma to us today is not an obscure theory written on paper and shelved in a high cabinet. It is the help given to us by the Buddhist spirit in this world of experience. This is the legacy of the Buddha's teachings. Gives us true meaning.
Although future generations are gradually far away from the time when Sakyamuni lived, they can still come into contact with the Buddha's profound wisdom through certain media. The emergence of the statue is a transformation of Buddhist concepts into images. Oscar Wilde said: The truth of art is to make things one with themselves, to let the appearance carry the connotation, to make the soul gain a body, and to fill the body with the spirit. When these idealistic and beautiful Buddha statues walk out of temples and shrines, into the human world, facing us day and night, reflecting the gorgeous light and shadow in the living space, we gain some inner enlightenment through direct senses, which not only pleases people's ears and eyes , can call our souls even more. Here, a channel is built between people and things, and all kinds of beauty and gentleness in life come, such as care, kindness, integrity, fearlessness, tenacity... Help us face the thorns of life more wisely, and bring us spiritual happiness. Comfort, the appearance of all dharma becomes the creator of a beautiful life and the comforter of the spirit.
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Lot 2210
5th century Buddha mother of wealth
5th century Nepal
red copper gilt
H:15.5cm
Estimated RMB: 700,00 0-900,000
Caishu Buddha Mother is an important female deity enshrined in Esoteric Buddhism. Lu Tianmu, as the name suggests, is closely related to wealth and is in charge of worldly wealth. She appeared in the early stages of the development of esotericism. The image is changeable, and its predecessor should be a goddess related to rivers in ancient India. Its most important symbol - ears of grain, is related to river irrigation and also symbolizes harvest. Therefore, in Buddhism, it has the attributes of wealth, food and merit. It's logical. The belief in Caixumu is very popular in Nepal, and many families worship her.
This statue has six arms on one side and is the most common image among the Goddess of Wealth. The three hands on the left hand from top to bottom hold scriptures, rice ears and treasure vases; the two hands on the upper right hand hold rosary beads (lost) and Mani. Treasure, the lower hand is placed on the knee to perform the wish seal. When it comes to making Buddha statues, when it comes to multi-armed images, the position and angle between the arms are extremely important in the shape. The six arms here are divided into three layers, well-proportioned, forming two elegant fan shapes on the side of the body, which is harmonious and clever. , and each arm is plump and beautiful, rhythmically giving the sculpture an uplifting momentum. The artistic genre of the statue is very distinct, and it is a typical style of the heyday of the Malla dynasty in Nepal. It wears a five-leaf Buddhist crown, with concentrated facial features, an innocent face like a child, and a bright smile, giving people a warm and friendly feeling. Sitting half cross-legged, her figure is graceful, slender and soft, with a full chest, just like the beautiful figure of a young girl. The whole body is gleaming with gold and solemnly decorated with beads, while the long skirt worn on the lower body is elegant and simple. The waist-style double-layer pedestal has lotus petals spread out compactly, with raised curly grass patterns on the petal tips.
4th and 15th centuries were the mature and heyday of the Malla Dynasty art in Nepal. Many Newari artists were hired by Tibetan benefactors to work across Tibet. Their talents in expressing harmonious body proportions and soft and dynamic postures were irresistible. . The fusion of vitality expression and Buddhist spirit can also be deeply felt in this sculpture.
Lot 2223
7th century Yamantaka
7th century Tashilhunpo Monastery in Tibet
Red copper gilding and color
H: 19.5cm
Estimate RMB: 1,100,000-1,500,0 00
Yamantaka is the wrathful manifestation of Manjusri Bodhisattva . One of the five most respected meditation deities in Tibetan Buddhism, especially valued by Gelugpa , it has different inheritances and images, from the form with one face and two arms, known as the "lone hero", to the multi-faceted one. The complex image of multiple arms embracing the concubine, and the Yamantaka here has one of the most complex structural structures among the many gods in Tibetan Buddhism, with a double body with nine faces, thirty-four arms, and sixteen legs.
Faced with such a complicated body structure, the first step for craftsmen is to find a harmonious and rhythmic arrangement of the many limbs. The deity has nine faces, distributed in three layers. The bottom layer has a large bull head in the middle with a pair of sharp horns, and three sides on the left and right. The upper layer is the terrifying and angry face; the top is the peaceful and compassionate Manjushri Bodhisattva face. There are many faces and The expressions are all concrete expressions of Buddhist teachings. Thirty-four arms, each holding a magical weapon. The main two arms hold the vajra sword and skull bowl in front of the chest, and embrace the concubine Vajra Corpse Mother. The other hands are on both sides of the body like rhythmic movements. And the people below were passing by intensively, and they were holding magic weapons of different shapes. Sixteen legs, the left leg is extended and standing, pressing down on the gods of the heretics and all kinds of birds and beasts.
The overall posture and the spatial rhythm between the many limbs are arranged exquisitely, and the casting and carving technology is also very superb, giving viewers a strong visual impact. The dazzling variety of image elements all have specific religious meanings, making the sculpture mysterious and ethereal. The charm. Surrounded by the blazing flames behind him, the mighty subduing power of Yamantaka was sublimated. The base is a single-layer covered lotus platform, which is wide and flat in shape, highlighting the volume of the Buddha statue above; the lanceolate slender lotus petals are arranged tightly and powerfully. The Tibetan number "1028" is engraved on the back, which should indicate the specific location where the sculpture was enshrined in the temple.
The overall distinctive artistic style clearly points out that the statue came from Tashilhunpo Monastery in Houzang. As one of the core monasteries of the Gelug Sect, its strong religious influence brought strong financial support, making it become a symbol of Tibet after the 17th century. As one of the art creation centers, a large number of Nepali craftsmen participated in bringing skilled gold and bronze sculpture casting technology to the workshop. The sculptures produced in Tashilhunpo Monastery are highly unified in style. A large number of Buddhist statues in Tashilhunpo Temple collected by the Qing Dynasty as tributes from Tibet were all labeled as "Tashilima" by the Qing court, such as the ones currently in the collection of the Palace Museum in Beijing The 17th century Horse-headed Vajra statue has the same craftsmanship and style details as the auction item. Although Tibetan sculpture art has been prosperous since the late Ming Dynasty and has gradually come to an end, Tashilhunpo Monastery and Xueduibai, two artistic creation centers located in Back Tibet and Front Tibet, still output excellent sculptures from time to time. They also It had a profound impact on the Buddhist art of the Qing Dynasty court.
Lot 2224
0-11th century Manjusri Bodhisattva
0-11th century Kashmir region
Brass alloy staggered with silver and red copper
H: 17.5cm
Estimate RMB: 900,000-1,200,000
Kashmir is located in northwest India, bordering Tibet to the east and Pakistan to the west. , Afghanistan is connected to the vast Indian subcontinent in the south. It is located in a special multi-cultural blending zone. Its sculpture art occupies an important position in the history of the development of Buddhist art. In 2015, an exhibition titled "Collecting Paradise: Buddhist Art of Kashmir and Its Legacies" was held at the Mary & Leigh Block Museum of Art at Northwestern University. ) and the Rubin Museum of Art in New York, bringing together 44 top-notch objects to bring the glory of Kashmir and its related art styles back to people's horizons.
The artistic tradition of the greater Kashmir region gradually matured in the 7th century. After many changes in political dynasties, its Buddhist sculpture art continued for centuries. The bronze statue of Manjushri Bodhisattva up for auction was made around the 10th-11th century AD and is a typical representative work of the late Kashmir period. Its iconographic characteristics are very special. Images of Manjusri holding a sword in the right hand are common in Kashmir. However, this statue has both hands in the Dharma seal. There are no scriptures or swords of wisdom on the lotus on the shoulder. Instead, look at the three-leaf crown he wears. , the sword of wisdom belonging to the logo of Manjushri appears in the form of crown leaves. This image is very rare, and it seems to be the only example seen.
Under the influence of Mahayana Buddhism, the early sculptures of Kashmir mainly produced Buddha themes. After the 8th century, with the prosperity of Buddhism, the number of Bodhisattvas and Crowned Buddhas of various shapes gradually increased, and the artistic form has distinct characteristics of the Kashmir region. : For example, the alloy material made of brass mixed with zinc (zinc), the unique face, the vaguely undulating water wave pattern, the combination of flat lotus petals and square (plain or hollow) pedestal, etc., have been passed down for hundreds of years and It had a profound impact on the neighboring western Tibet area in the future, and some stylistic elements continued even during the artistic revival period in Tibet in the 15th and 16th centuries.
This statue of Manjusri Bodhisattva has an oblong face, long and narrow almond-shaped eyes, inlaid with silver eye kernels, a thick and protruding chin, lips inlaid with red copper, and different styles of earrings on each ear. The body lines are strong and powerful. , the muscles of the chest and abdomen are shaped in a realistic way, the navel is in the shape of a cross, the legs are crossed, and the double-layer rosette supports a square stepped plain base. If you compare it with the early works of Kashmir, such as those unearthed from the Piyang Grottoes in Tibet The 7th-century statue of Sakyamuni Buddha (sourced from "Buddhist Art of Western Tibet"), and the 7th-8th century statue of Sakyamuni Buddha collected by the Norton Simon Museum in the United States. It can be seen that many classic Kashmiri style elements always run through the statues of the region. The production process later evolved into the ancient Kashmir-style Buddha statues in western Tibet. The sacred gourd-shaped halo formed behind the statue is one of the characteristics of Kashmir's later sculptures.
Lot 2226
Ming Yongle Jade Emperor Ming King
Ming Yongle (1403-1424) Period Mainland Palace
Gilt Brass
H:5.5cm
Source:
1. Asia Art Week in New York, March 2013.
.Swiss Old collection of antique dealer Robert R. Bigler.
Estimated price RMB: 750,000-900,000
We rarely see images of this secret and special angry god, especially in gold and bronze statues. The King of Desire (Sanskrit name: Takkiraja) is a special teaching unique to the Sakya sect of Tibetan Buddhism - the Holy One among the Thirteen Golden Dharma, and belongs to the three red dharmas. The Museum of Culture in Basel, Switzerland (Museum der Kulturen, Basel) collects a 16th-century Sakya Thangka, in which the appearance and characteristics of this god can be clearly seen. The Sakya sect achieved supreme status in the Yuan Dynasty . This period was also the beginning of the widespread spread of Tibetan Buddhist art and iconography in the mainland. Kublai Khan named the Sakya monk Phagpa as his imperial teacher. The teachings of the Jia sect had a profound influence on the royal family of the Yuan Dynasty, and this influence continued in the palace after the establishment of the Ming Dynasty. This can be proved by looking at the statue of Virupa, who is the revered patriarch of the Sakya Sect.
This extremely exquisite sculpture of the Jade Emperor and Ming Dynasty shows the distinctive style of palace statues in the Yongxuan period of the Ming Dynasty. Wearing a five-skull crown on his head, his eyes are wide and protruding, his eyebrows are burning like flames, and his appearance is fierce and terrifying. The left hand is used to hold the Qi Ke seal on the chest, and the right hand is held high to hold the Vajra Hook. The body is mighty and strong, the limbs are powerful, and the posture is steady, showing great power. The necklace Yingluo is arranged densely and orderly on the chest, surrounded by flying silk ribbons, a giant snake is wrapped around the upper body, and a tiger skin skirt is wrapped around the waist. The outside is decorated with "U"-shaped beaded necklaces with upward flying potential.The single-layer covered lotus pedestal has full and powerful lotus petals, and the head is decorated with a strong three-dimensional curling cloud pattern.
In the history of Chinese sculpture, palace statues in the Ming Dynasty are undoubtedly an important and unique artistic style. In particular, the gilt Buddha statues produced in the Yongle and Xuande dynasties are regarded as one of the most important works in the Buddhist world. The statues produced by the palace during this period reached a peak of the integration of Chinese and Tibetan culture and art, and had an important impact on the development of the entire Tibetan Buddhist art. This work reflects the distinctive characteristics of the Yongle palace Buddha statues from its fine copper, noble and brilliant thick gilt , and meticulous craftsmanship. Within the limited range of only 5.5 cm in height, it represents the Yongle era. His grandeur and exquisite craftsmanship are fully demonstrated.
Lot 2227
4th century Master and disciple Jiangqu Gyaltsen
4th century Tibet area
Brass alloy, staggered inlaid with silver and red copper
H:11cm
Published: "Mingdian-Buddhist Art Treasures Extract" was published in 2006.
Estimated price RMB: 750,000-900,000
The important and special position of the guru in Tibetan Buddhism has created a new source of subject matter in art. Although the realism in the statues of the Tibetan guru is a broad sense of realism, it is divorced from ideals. Being loyal to realistic portraits and using real people as models can be called a new era in the history of Buddhist art. Such respect for the statue of Jiangqu Gyaltsen shows that although he is a strict self-discipline practitioner, he is also the founder of a powerful political power. Therefore, the craftsman must show his strong demeanor that combines majesty, perseverance and wisdom. Yiyi held his head erect with concentration, his eyes were fixed and looking straight, his gaze was like a torch. The lines on his face all showed a kind of tight determination, fully revealing Jiangqu Gyaltsen's personality.
wears a cross-collar waistcoat, a Baina coat, and a large cloak. The craftsmanship of the clothes is superb and unique. The piping of the clothes is inlaid with red copper and engraved with water ripples. The futian pattern of the cassock is alternately made of silver and red copper. Vertical and horizontal intersecting lines are embedded, forming undulating light and shadow under the light; the hem of the clothes is spread thinly on the table like running water, and the outer loose coat is decorated with countless floral patterns scattered, making it serious. A romantic tone is added to the work. The pedestal and lotus petals below have distinct characteristics of the times. Both the upper and lower edges have a fine and wide bead pattern, and the bead pattern below is directly on the ground. It clearly inherits the characteristics of Pala art.
As far as the sculpture style is concerned, based on the copper quality and craftsmanship characteristics of the work, this statue belongs to the typical artistic tradition of the Kagyu Sect in the Yuan and Ming Dynasties. Similar statue styles were very popular in the Kagyu Sect's powerful areas from the 13th to the 15th century. According to Judging from the existing examples, the number of works of the Pazhu Kagyu and its tribes, such as the Drikung Kagyu and the Dalung Kagyu, is the largest. The style of this batch of works obviously comes from Indian Pala art, and the existing information also proves that the artist team employed by these Kagyu patrons at that time had the direct participation of Indian craftsmen. Many similar sculptures will have a The style of the multi-layered angular Sumeru pedestal can be found in the works of Indian Pala, but the theme part is a guru theme unique to Tibet, so it shows a realism that is unique to local features of Tibet. For examples of the same style, please refer to: Attached Picture 1. 13th-century statue of Phamudrupa from the Cleveland Museum of Art, USA. Attached Picture 2. 14th-century statue of Xiang Caiba from the Museum Rietberg, Zürich, Switzerland. Like the 13th-14th century statue of Patrup Kagyu in the Jokhang Temple in Tibet.
Finally, there is another important point of concern. The era of production of the works has distinct identifying characteristics. If compared with the examples listed, the characteristics and evolution of this style tradition can be clearly seen. The age of this sculpture can be determined to the late 14th century, which is close to the time when Jamgqu Gyaltsen himself lived. Therefore, this sculpture is most likely made to commemorate him. It has such extraordinary significance. This superb craftsmanship is related to hundreds of years. It is not surprising that his spirit remains undiminished over the years.
Lot 2228
4th century sword-raising Manjusri Bodhisattva
4th century Tibet area
Brass alloy staggered with silver, red copper
Turquoise, crystal, colored glaze, Dongzhu and other gemstones are inlaid with
H:27cm
Valuation RMB: 5,000,000-7,000,000
in Buddhism Among them, Manjushri Bodhisattva is one of the most respected Bodhisattvas with a very long history. Sanskrit name "Manjusri", transliterated as " Manjushri " or " Manjushri ", is the supreme wisdom. symbol. In the process of the spread of Buddhism to China, Manjushri Bodhisattva became a highly localized Bodhisattva. Mount Wutai in Shanxi Province as the dojo of Manjushri has been recorded as early as the and Northern and Southern Dynasties periods, and many Chinese emperors also regarded themselves as Manjushri. The reincarnation of Bodhisattva shows how deeply rooted his belief is in China. Over thousands of years, Manjushri Bodhisattva has also evolved rich image styles during the development of Buddhism, and it is reported that there are hundreds of varieties.
The dazzling visual effect of the statue of Manjusri Bodhisattva holding a sword in front of you makes people feel the tremor in their hearts at first sight. Gold, copper, silver, and gemstones are not only the materials of the statue, but also a song that expresses piety and life. ensemble. Manjushri Bodhisattva raises his right arm high and holds the sword of wisdom. This image may be related to Prince Siddhartha's haircut in the story of the Buddha's life in order to cut off the troubles in the world. The hilt of the sword is decorated with east beads, and his right hand is lightly twisted in front of his chest. A graceful lotus blooms on the shoulder, holding the Prajnaparamita Sutra on it. The five-leaf crown is full of kingly bearing. The style and craftsmanship are so gorgeous and exaggerated. The two crown leaves in the middle are symmetrical images of auspicious animals, which is very rare. The decoration on the top of the bun is also particularly obvious and inlaid with crystals; both sides The Baozong is winding and flying, and the decorative details such as crown belt, earrings are all carved to the smallest detail.
The intricately decorated necklaces all over the body are also an expression of the noble status of the Bodhisattva. The necklace pendants on the chest, armbands , bracelets, belts and heavenly clothes ribbons are all made of extensive use of silver and red copper inlays. They are also inlaid with various gemstones such as turquoise, crystal and colored glaze. They are created with the enthusiasm of the craftsmen. , everything becomes a visually stimulating element. This is the most beautiful thing in the world dedicated to the great Manjusri Bodhisattva by the sponsors and artists.
Corresponding to the passionate and intense craftsmanship, there is a spiritual world of introspection and calmness on the face, which also carries the ideological core of the creation of Buddha statues. The eyes looking down at the world are mourning for the misery of mankind. The lips that are about to open are slightly pursed, revealing a meaningful and mysterious smile. This is a smile that blends wisdom and compassion, which is difficult to describe. Through the depiction of the facial features, the craftsman added a quiet core note to the entire warm and unrestrained modeling process, giving the sculpture an atmosphere far away from the world. He is the embodiment of human wisdom and the god of the Buddhist country. The spiritual attributes and sacredness of the statue are the center of expression of religious artworks. The purpose of creating Buddha statues at that time was to serve faith, and various technologies and imaginations were also expressed by people. Just a powerful tool of piety. The double-layered lotus pedestal below is full of tension and variety, and also uses the craft of staggered red copper inlays in many places. The lotus petals have changed from the simpler shape since the Later Hong period, and the exquisite and complex workmanship enhances the decoration. Effect.
The overall style of the statue has distinctive characteristics of Indian Pala art. Although some parts have shown diversified stylistic influences, the main body still continues the tradition of Tibet that was deeply influenced by Northeastern Indian art before the 13th century. Among them, the extremely complex, polymetallic There are also precedents for the use of staggered inlay technology in India, such as a 12th-century Maitreya Bodhisattva statue collected by The Walters Art Museum in Baltimore, USA, and one that appeared at Sotheby's New York in March 2011. The 11th-century Sitting Manjushri statue currently on loan at The Metropolitan Museum of Art (NYC) (lot 26, transaction price: US$20,985 million).
Since the early days of the Later Hong period (11th-12th centuries), a large number of Indian craftsmen came to work in Tibet. Entrusted by Tibetan benefactors, they created Buddhist statues based on Indian artistic traditions and integrated local aesthetic elements in Tibetan areas. This was a relatively common practice at that time. This is a common phenomenon. There is a typical example that can be compared with this statue of Manjushri. It is the 13th century copper alloy four-armed Guanyin statue now in the Guimet Museum in Paris, France. There is an inscription engraved on the original backlight of the bronze statue, clearly stating that the The four-armed Guanyin statue was made by the Indian craftsman "Mangaranatha" for "Maneva". The two sculptures are highly consistent in craftsmanship and many style details.
In addition, the Cleveland Museum of Art in the United States has a 13th-century stone sculpture of the four-armed Guanyin statue. It is also a representative work made by Indian craftsmen for Tibetan sponsors. Compared with this auction, the facial features of the two are almost different. No difference.
html In the 112th century, with the fall of the Pala dynasty, the fire of Buddhism gradually extinguished in India, but its cultural and artistic factors had already taken root in another land. The sophisticated aesthetics brought by Indian craftsmen gradually merged with the local characteristics of Tibet. , and later, together with the Nepalese art that began to have a profound impact in the second half of the 13th century, and the art of the Han Dynasty in the Central Plains, they promoted the formation of the local Tibetan style. Shalu Temple The famous Five Directions Buddha mural in the early 14th century is a great early example of this fusion of styles. By comparing with the two four-armed Guanyin statues from Guimet in Paris and Cleveland, we can see the evolution of the local style of the original Manjushri statue, such as the more exquisite and rich crown, which is obviously influenced by the more ornate Nepali art. At the same time, the shape of the lotus petals is narrower and has more extraordinary details. These features suggest that the sculpture was made in the 14th century.
The diversified collision of culture and art gradually reached its peak during this period, and the fusion art form also developed to its perfection. Only under this background can such a skillful and detailed work be born, much like a The talented young man, who is full of unique skills, is eager to show off all his talents. Therefore, every part of Manjushri Bodhisattva is exquisite and touching. Such a complicated craft is not complicated at all, and the work is the master. The face of the Buddha is still the face of the Buddha. As mentioned above, the spirituality is the soul of the Buddha statue. Various techniques and imagination are powerful tools to express this spirituality.
Lot 2205
6th century Mandalawa
red copper gilt, gem inlaid, lacquered gold painting
H: 13cm
Tibetan inscription on the back of the base
Chinese translation: The wisdom of bliss and space arises, and the mandarava statue salutes!
Explanation: Buddha Mother can carry forward the cause of the wisdom of bliss and emptiness. I would like to pay homage to the statue of Mandalawa Buddha Mother!
Source:
. Christie's New York March 22, 2011.
. Hong Kong Hanhai October 4, 2015.
. Formerly collected by the famous collector "Le Cong Tang" in Taiwan.
Estimated price RMB: 500,000-700,000
Mandarava is a highly respected female practitioner in Tibetan Buddhism. She is a disciple of Padmasambhava, the founder of Tibetan Buddhism. In artistic works, Mandarava often appears together with Yeshe Tsogyal, another important disciple of Guru Rinpoche, accompanying Guru Rinpoche. Each holds a kabala bowl and a longevity vase to pay respect to Guru Rinpoche. This kind of theme is usually expressed in a romantic form, that is, Guru Rinpoche and his two disciples are placed on the three branches of a lotus or Bodhi tree , thus forming a visual whole ( Padmasambhava Museum der Kulturen, Basel, Switzerland (Museum der Kulturen, Basel) in the 16th century with two concubines. This mandarava statue is cast independently, which is very rare. Although there is no Guru Rinpoche by his side, his identity can still be clearly identified based on his clothing and the inscription engraved on the back.
According to relevant classics such as the "Jataka Biography of Padmasambhava", Mandarava was a princess born in the ancient Indian kingdom of Sahor, and she had a majestic appearance. Therefore, the craftsmen paid special attention to the characters when shaping this work. The expression of noble temperament and emotion. Mandarava wears Tibetan royal-style robes, and the natural pleats make the work richer and more layered. The sitting posture is solemn with a hint of laziness and relaxation, with the head tilted slightly, a graceful and joyful expression on the face, and the hands and feet exposed outside the clothes are soft and delicate. The author conveys a noble and simple beauty through carefully arranged body language, detailed facial expressions and descriptions of the clothing of secular aristocrats.
The above are all displays of the secular beauty of sculptures. As a religious artwork, it still needs important spirituality to inspire the viewer's spiritual piety. Therefore, the Bodhisattva's attire: a gorgeous crown and heavenly clothes, jewelry and necklaces. , with a sacred seal in her left hand, a Gabala bowl filled with longevity nectar in her right hand, and a lotus base like a full moon. These sacred elements brought the princess back from the human world to the heavenly world. This is a fusion of reality and ideal. The realistic atmosphere is to show that Mandarava was once a royal family in the world. This is also the key to the noble temperament of the work. In the final connotation, the sculpture is still spiritual. , sacred. Finally, the author has another point worth noting in terms of styling: the ribbons of Tianyi hang down naturally and symmetrically on both sides of the body, which contrasts with the sleeves that float upward and are also symmetrical. This is not for realism, but for a decorative effect. , and for modeling reasons, not only is it more visually balanced, but the width of the statue is also increased, making the overall image stronger.
Lot 2209
Ming Yongle Medicine Master Buddha
"Yongle Year of the Ming Dynasty" model
Brass gilt
H:12cm
Estimated RMB: 1,000,000-1, 400,000
According to " Medicine Master Glazed Light Tathagata's Original Vow Merit Sutra " contains the Oriental Pure Glazed World The leader of the teaching, the Buddha's name is Medicine Master Lazuli Light Tathagata . When this Buddha walked the path of Bodhisattva, he made twelve great vows to relieve the suffering of all living beings. It is precisely because of this godhead who can cure diseases and pain and protect the world that his belief is widely spread.
This statue sits cross-legged in full lotus, wearing a cassock, with a bun on top and a bright eyebrow. The right hand hangs on the right knee, and the thumb and index finger lightly hold a Myrobalan fruit (also known as "Myrobalan"), which is a miraculous medicinal fruit recorded in Buddhism; the left hand is placed on the thigh, with the palm of the hand facing the sky, and The meditation seal holds a medicine bowl filled with Harile nectar. This is the standard shape of the Medicine Buddha as recorded in Buddhist scriptures. The face conveys an extremely solemn air, expressing an ideal beauty from the Central Plains and Han Dynasty. The cassock is draped diagonally, with the right shoulder exposed. The soft, heavy clothing is layered and folded, like the natural undulations of water, giving it a rich texture of clothing. It is different from early Indian and Tibetan sculptures that downplayed clothing lines and emphasized the curves of the body. The upper and lower edges of the rosette are carved with a round bead pattern, and slender lotus petals are closely arranged and surround the base.
The six-character inscription "Yongle Year of the Ming Dynasty" is engraved on the front of the rosette. It not only indicates the age of the work, but also reflects the purpose of the sculpture and witnesses the exchanges between Han and Tibet at that time. The word "Shi" indicates that this image was donated by Emperor Yongle to an important person in Tibet. The direction of the engraved text from left to right is consistent with the reading and writing direction of Tibetan. The purpose is to adapt to the reading and writing of Tibetan people. Tradition. This kind of giving behavior, dedicated to strengthening the relationship between the central government and the Tibetan religious elite, was popular in the Yongle and Xuande dynasties of the Ming Dynasty.
The origin of the style of Yongle palace statues can be traced back to the Yuan Dynasty when Tibetan Buddhism was the belief. It was developed from the so-called "Western Brahma" style, which incorporated the Nepali style represented by Anigo and Liu Yuan's Han style. Various art schools such as the Tibetan and Weizang regional styles were perfected into the classic Yongle and Xuande styles in the Ming Dynasty.Based on existing physical objects, there are about 20 themes for palace statues in the Ming Dynasty, among which the Medicine Buddha theme is quite rare. In March 2014, Christie's New York launched a special auction of religious art "The Sublime and the Beautiful: Asian Masterpieces of Devotion" , there is a 28-centimeter-high Yongle Palace Medicine Buddha, which is almost the same as this auction in terms of image, image and craftsmanship except for its size. The exquisite casting technology and pure gilding skills combine the sacred charm of religion and the demeanor of a royal king.
Lot2208
3th century Fudo Mingwang
3th century Tibet (Pala style) area
Brass alloy staggered with silver and red copper
H:13cm
Estimated RMB: 550,000-700,000
Fudo Myooh is an important wrathful god in Buddhism and is widely spread. , people believe in it from India to Tibet, from mainland China to Japan. In Tibetan Buddhism, there are different worship systems and teaching traditions. It is both a meditation deity and a protector. It is commonly seen in the standing and kneeling postures with two arms. The latter has two forms: blue and white. , among which blue figures are more common, generally appearing in sculptures and paintings before the 15th century.
The right leg of this statue of Fudo Myoyo is in a bow, and the left leg is bent at the knee. The shape is full of tension. The right hand holds a sword high, and the left hand holds a rope in front of the chest. The limbs are thick and short, and the body is powerful. The posture is just like the traditional Indian tradition. The image of the Nightshade in art is in the same vein as the image of Ashoka from the Pala Dynasty of India. Wearing a crown, hair ribbons in a fan shape around the ears, large round earrings, and a flaming high bun on the top of the head, tied by a row of skulls. The eyes are wide open, radiating angry flames, and the mouth is gnashing as if to devour something. The exposed teeth and white hair are inlaid with silver, while the eyes are inlaid with red copper. Bare upper body, wearing a simple necklace, a long snake draped down from the left shoulder, the head and tail wrapped around the chest and knotted. The snake represents the "Dragon King" in Buddhism, and also symbolizes "anger", one of the fundamental worries. Snakes as decoration express a subduing power. Tiger skin skirt around the waist, with bracelets on the wrists and ankles. The lotus platform appears tall and heavy in visual proportion, with wide beaded patterns carved on the upper and lower edges. round drum full lotus petals are symmetrical up and down and arranged elegantly.
In terms of the style of the work, it should be a typical presentation of Indian Pala art in Tibet, and it is also a specific representative of Tibetan art style in the 12th and 13th centuries. Although the theme expresses fearlessness, wrath and respect for the gods, the facial expressions do not make the viewer nervous all the time. The exaggerated expression reveals a kind of simple innocence. The overall style of the sculpture can be referred to a 13th-century statue of the kneeling King Ming in the collection of Roshan Sabavala in Mumbai, India.
Lot 2217
5th century Manjusri Bodhisattva
5th century Tibet area
Red copper gilt gem inlaid
H:20.5cm
Estimated RMB: 750,000-900,000
The iconography of Manjushri Bodhisattva is very diverse. The posture of raising his right arm high and holding a long sword is the most common one in Tantric literature. The most classic image of Manjushri Bodhisattva depicted. With both arms on one side, the left hand holds the stem of the Ubala flower, with the flower blooming on the shoulder, and the Prajnaparamita Sutra, a symbol of Manjushri Bodhisattva, placed on it. With broad shoulders and a slim waist, an elegant and straight figure, he sits in full lotus position on a double-layered lotus throne. Wearing a five-leaf flower crown on her head, her delicate and smooth hairline is exposed on her forehead. The face is strong and full, with long and high eyebrows, staring eyes, and sharp and well-defined facial features, which not only shows the solemnity of the expression, but also conveys the perseverance of the heart. Wearing a typical Bodhisattva attire, with Han-style cloud shoulders , earrings, necklaces, armbands, and beaded ornaments inlaid with turquoise, and a long skirt. The folded clothing pattern adds to the heavy texture of the clothing, and various carvings are carved on it. Auspicious ornaments and floral patterns. Powerful and delicate lotus petals surround the pedestal. The tall and handsome figure, set off by the bright golden water, looks extraordinary.
There is a gilt-bronze eleven-faced Guanyin statue in a private collection in the United States. Compared with this statue of Manjusri, the facial features and style are highly consistent.There is a Tibetan inscription engraved on the rosette of the eleven-faced Guanyin statue, indicating that it was made by an artist named Sonam Gyaltsen for the two brothers Norbu Zangbo and Besang. Therefore, in recent years, some people in academic circles have named this style of sculpture "Sonam Gyaltsen Style" after the artist. There are no further records of the artist Sonam Gyaltsen in the current relevant documents. Therefore, issues such as his life, whether he made other statues, and whether he can represent a certain style and genre still need in-depth research. Regardless of whether this statue of Manjushri was made by Sonam Gyaltsen, it reflects the maturity of Tibetan local style and represents a masterpiece of Tibetan aesthetics born from the fusion of diverse arts.
Lot2221
7th century Ngawang Lobsang Gyatso
7th century Tibet area
Red copper gilt
H:25cm
lines of Tibetan inscription on the back of the base
Chinese interpretation: Image of Ngawang Lobsang Gyatso , carefully crafted for you, I respect you , just like the Infinite Life Buddha, who attained the unbreakable Vajra Body, I hope the donor will attain Bodhi from now on, behave like a correct and good teacher, and everything in the future will come true. Lobsang Norbu built this image based on religious reliance and wished success (Jayanada)!
Estimated price RMB: 1,700,000-2,000,000
Except for the back of the base, this sculpture is entirely gilded. It sits in the lotus position with its left hand holding a sutra book in front of its abdomen and its right hand held upright to perform the Dharma seal. Wearing a pointed pandita hat, with bright eyes and deep wrinkles on both sides of his forehead and cheeks, he shows a portrait of Ngawang Lobsang Gyatso in his old age, with a very majestic and confident expression.
The vigorous portrayal of the characteristics of the old man is also a commonly used technique in statues of Tibetan ancestors, in order to demonstrate the character's high moral character and respect, as well as his wise and harmonious state. Here, the physical body conveys the character’s mental state extremely well. Wearing a right-baring cassock, a cross-collared monk's collar inside, a large cloak on the outside, and a Puba pestle at his waist, which is a symbol of his practice of the Nyingma teachings. Ngawang Lobsang Gyatso highly respected the Nyingma teachings. He once respected Deda Lingpa, the master of the sect and the founder of Minzhuling Monastery, as his teacher. The clothes are thick in texture and wrap around the legs, forming many pleats that turn over from top to bottom, forming many light and dark parts on the surface. The back of the statue is carved with multiple uneven folds. This kind of realism expression, decoration The effect is strong and makes the work as a whole rich and substantial. Below is a double-layer Zen cushion pedestal with flower patterns engraved on the front. The overall shape is as stable as an equilateral triangle.
There are 4 lines of Tibetan inscriptions on the back of the base, which clearly indicate the origin of this statue. It not only provides important historical information, but also is the spiritual core of the work. The donor of this image, Lobsang Norbu, is the 24th Khenpo of Chepa Dracang of Sera Monastery. Sera Monastery is one of the three major monasteries in Lhasa and one of the six main monasteries of the Gelug Sect. It was founded by Rinchen Sengge, an important disciple of Master Tsongkhapa. According to records, Lobsang Norbu once showed his talents during the three-day defense of tens of thousands of monks presided over by Ngawang Lobsang Gyatso. Ngawang Lobsang Gyatso was very happy and appointed him as Khenbu. Lobsang Norbu initiated the production of this statue, expressing his deep emotions. The sincere words in the inscription not only reflect the believers' respect for Ngawang Lobsang Gyatso, but also express their good expectations for the future. The work thus achieves A harmony of form and spirit.
Lot 2225
html Maitreya Bodhisattva in the 17th century
th century Swat area
Brass alloy staggered with silver and red copper
H: 13.5cm
Estimated RMB: 1,400,000-1,800,000
Classical order, nobility and purity, this outstanding craftsman who was active in the 7th century AD, With soft and delicate lines, a Maitreya saint with a handsome face, a well-proportioned body is created, serious and full of vitality. This precious Swat icon that spans 1,500 years of time and space and has been handed down to this day uses this kind of naturalism and idealism. The artistic technique that combines ism and doctrine allows us to have a glimpse of the characteristics of deity creation in early Mahayana Buddhism.
The Swat Valley, part of ancient India, is located south of the foothills of the Hindu Kush Mountains and is at the hub of the intersection of the Indian subcontinent and Central Asia. Faxian recorded this place for the first time in "Records of the Buddhist Kingdom"; Xuanzang recorded it as the Wuzhanna Kingdom in "Records of the Western Regions of the Tang Dynasty" and described the prosperity of Buddhism in the place in the 7th century. Buddhist art in the Swat region originated during the Kushan period. In the early days, it was also part of the Gandhara Cultural Area. Due to its favorable geographical location, after the decline of Buddhism in the Gandhara region, it became a new Buddhist holy place and in 6 AD After the century, he gradually developed his own art system. Swat is also one of the birthplaces of Tantric Buddhism. The famous Padmasambhava was born here and had a huge influence on Tibetan Buddhism.
The belief in Maitreya appeared very early in Buddhism. As a god with dual identities of "future Buddha" and "present Bodhisattva", the origin of Maitreya belief is as early as around the 2nd century BC. According to Buddhist scriptures: Maitreya appears in this world as a Bodhisattva and lives in the Tusita Heavenly Palace. In the future, he will be reborn as a Buddha and save the world. The image of Maitreya appeared in the art of Gandhara and Mathura at the beginning of Buddhist sculpture. Later, with the spread of Buddhist thought, its images were widely popular in India, Himalayas, China and East Asia.
This Maitreya statue shows us the typical aesthetics of statues in the Swat region, with simple shape, fullness and exquisiteness. Wearing a crown with pointed leaves, her hair is tied up in a high bun, and the braids on both sides naturally hang down on her shoulders. The face is like a goose egg, the jaw is full, and the eyes are piercing. In addition to the face, the right hand raised in the fearless mudra is also the focus of attention. The deliberately exaggerated palm proportions emphasize the characteristics of the mudra that make all living beings feel at ease and fearless. The slender and soft fingers are very full of life and vitality. The pure vase held in the left hand is here used as a symbol of Maitreya Bodhisattva's identity. The body muscle lines naturally undulate, bringing a smooth charm. The decoration on the body is very simple, which reminds people of the arduous practice of Mahayana Bodhisattva. It is completely different from the many gorgeous Bodhisattva images that began to appear in the Tantra period. The long skirt worn on the lower body is made of thick material, and the craftsmen have made detailed carvings on the pleats. The deeply girded lotus base and the smooth and stretched large-leaf lotus petals below have distinctive Swat regional characteristics, and at the same time enhance the visual effect, making the sculpture exude infinite vitality.
Among the Swat statues handed down from ancient times, the theme of Maitreya Bodhisattva is rare. The Museum Rietberg, Zürich, Switzerland has a statue of Maitreya Bodhisattva with very similar image features. It can be compared with the auction. All of them are works from the mature period of Swat's art. After being polished for more than a thousand years, the sculpture has a warm amber luster from the inside out. The first element that the craftsmen grasp here is the heart, which emphasizes the spirituality of the work. Therefore, under the beautiful appearance, it is also full of the spirit of Buddhism. From the expression, behavior to decoration, it is covered with a quiet temperament, which makes the audience Immerse yourself in a devout state of mind.
