Null Buddha in stone H35

Description

Buddha in stone H35

156

Online

Buddha in stone H35

Les enchères sont terminées pour ce lot. Voir les résultats

Vous aimerez peut-être

Estim. 600 000 - 800 000 EUR

STATUETTE D'USHNISHAVIJAYA EN ARGENT PARTIELLEMENT DORÉ ET ALLIAGE DE CUIVRE DORÉ TIBET CENTRAL, VERS XVIIE SIÈCLE Himalayan Art Resources item no. 1828 17.2 cm (6 3/4 in.) high Footnotes: A PARCEL GILT SILVER AND GILT COPPER ALLOY FIGURE OF USHNISHAVIJAYA CENTRAL TIBET, CIRCA 17TH CENTURY Published Amy Heller, Tibetan Art: Tracing the Development of Spiritual Ideas and Art in Tibet, 600-2000 B.C., 1999, p. 197, no. 105. Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 350, no. 148. Exhibited  Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 —19 February 2017.  A Spectacular Ushnishavijaya In this superb c. 17th century sculpture from Central Tibet, the goddess Ushnishavijaya appears in her three-headed, eight-armed manifestation.1 She casts her central gaze downward to meet that of her devotees. Her right countenance is serene and similarly downward-cast. The left is fierce and powerful, with fangs exposed and eyes wide and unflinching. In Tibetan Buddhist practice, Ushnishavijaya is invoked to support long-life, purification, and enhanced well-being. Following traditional iconography for her representation, she holds the double vajra (vishvavajra) in front of her heart, an image of Amitabha Buddha in her upper right hand, the arrow, gesture of generosity (varada mudra), bow, and a gesture of protection (abhaya mudra) in the upper left hand. The left hand near her chest once held the sacred cord (pasha); the upward-turned hand in her lap a vase of immortal elixir.2 The body of the goddess is white, here beautifully represented by the silver in which she is cast. The cool metal is used to superb aesthetic effect, contrasting with the warm gold of the base, halo, and adornments and with the vibrant turquoise blue of her inset jewelry. Her faces were once painted, as is evident from the remaining traces of pigment. Traditional iconographic texts describe the central face as white, like her body, her right face as golden or yellow, and her left as red.3 The enhanced power afforded by the pigment can be seen in the fierce left face with its painted eyes. Commissions in silver, a rare and expensive material, were uncommon in Tibet. Another example is a c. 17th century Buddhist goddess in the Nyingjei Lam Collection.4 Like this example, the Nyingjei Lam eight-armed goddess has slender limbs, arranged elegantly around the torso. The lotus petals, halo, and other details in the Bonhams Ushnishavijaya are very similar to those in a c. 17th century sculpture of Ushnishavijaya in The Metropolitan Museum of Art, New York (fig. 1; 2007.75a, b). Moreover, its verso is so like that in The Metropolitan Museum Ushnishavijaya as to suggest the two sculptures share an as yet undetermined historical connection.5 More generally, the sculpture expresses elements of Nepalese taste, although it was commissioned for a Tibetan patron, evident in the choice of turquoise stones which were favored in Tibet. Features in the Speelman sculpture can also be found in works created in a famous workshop adjacent to Tashi Lhunpo monastery in Shigatse, Central Tibet. Indeed, the halo of flames surrounding Ushnishavijaya and her lotus base are very similar to those in a c. 17th century Chakrasamvara sculpture formerly in the Claude de Marteau Collection which bears an inscription confirming its connection with the Tashi Lhunpo workshop (fig. 2). The workshop, named Tashikitsel (bkra shis skyid tshal), was established during the tenure of the Fourth Panchen Lama, Lobsang Chökyi Gyaltsen (Blo bzang chos kyi rgyal mtshan, 1567-1662), very near to Tashi Lhunpo monastery. It was founded to cultivate excellence in the arts of making sculpture, painting, architecture, and textile arts and crafts. A few published sculptures bear the inscription 'Tashi Lima' ( bkra shis li ma ), recently understood to be an indication that the inscribed sculptures were made in this workshop very close to Tashi Lhunpo monastery.6 A literal translation of the term Tashi lima is 'Auspicious metal' but as Luo Wenhua has noted, its most specific meaning is 'Tashikitsel.'7 Jane Casey January 2024 1. See Marie-Therese de Mallmann, Introduction a l'Iconographie du Tantrisme Bouddhique, Paris, 1975, pp. 389-390 for discussion of her various forms. 2. The roughly contemporaneous gilt copper alloy sculpture of Ushnishavijaya in The Metropolitan Museum of Art (fig. 1) retains a fine cord connecting the upper left hand, threading through the bow, and falling into the left central hand. The Metropolitan figure still holds the vase of elixir in the lower left hand, as one envisions was originally held in the Speelman sculpture. 3. Mallmann, 1975, pp. 389-390. See also Himalayan Art Resources set no. 5924: https://www.himalayanart.org/search/set.cfm?setID=5924. 4. Published in David Weldon and Jane Casey Singer, The Sculptural Heritage of Tibet

Estim. 600 000 - 800 000 EUR

STATUETTE DE VAJRADHARA EN ALLIAGE DE CUIVRE DORÉ NÉPAL, DÉBUT DE L'ÉPOQUE MALLA, XIVE SIÈCLE Himalayan Art Resources item no. 20418 42.5 cm (16 3/4 in.) high Footnotes: A GILT COPPER ALLOY FIGURE OF VAJRADHARA NEPAL, EARLY MALLA PERIOD, 14TH CENTURY Published Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 336, no. 141. Exhibited Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 —19 February 2017. Provenance Private German Collection Christie's, New York, 22 March 2000, lot 73 The Diamond Vehicle of Nepal Vajrayāna (the Diamond Vehicle), a practice developed during the later stages of Buddhism, sees the proliferation of deities subject to the religious school or, at times, even the monastery. In addition to a rich pantheon inherited from the Indian tradition are countless entities characterised by iconographies of varying complexity. These are evoked during rituals that are sometimes esoteric, carrying moral or philosophical significance. Although the relative importance as well as the hierarchy of these deities diverge from one religious order to another, above them is a supreme Buddha, whose essence embodies the essence of all buddhas. Depicted here is Vajradhara, who presides over the monks of the Sakya order, amongst others. With both palms crossed over the chest, he holds his two characteristic attributes, the vajra (thunderbolt-diamond) and the ghanta (bell). The shape of the vajra is reminiscent of a diamond sceptre. The purity, clarity, and indestructible nature of this gemstone demonstrate the reason it became an object of much fascination in tantric Buddhism. The deity's feet are tightly crossed, akin to a yoga pose. The immaculate craftmanship of the jewellery adorning the figure is borrowed from stylistic forms that were initially developed in Northern India. Notably, two ascending floral peduncles surround the centre of the floret tiara sitting above the forehead. This fashion of ornamentation is characteristic of Nepalese sculptures as well as those influenced by the Newar artistic tradition from around the 13th century onwards. On the base of the tiara is a sneering kīrtimukha mask. The knotted ribbons which snake around both sides of the head maintain the tiara in place. A pair of elegant armbands is illustrated on either arm with a large floret replicating those on the tiara. The deity wears three necklaces, each of varying shape and size. The length of the second necklace ends at the pectoral region and is largely hidden from view behind the vajra and the ghanta. A scarf, reduced to the form of a simple ribbon with intricate blossom motifs, encircles the arms, and billows around both shoulders in an elegant swirl, emphasised by a pair of turquoise gems. Small floral pendants hang from the sash around his waist. At the front, a fall of pleats interwoven around the crossed ankles opens out at calf level. The slight inclination of his head to the right suggests that the deity had once been accompanied by another statue, that of his consort, the goddess Vajradhātvīśvarī. His facial features are characteristic of Nepalese sculptures. As described in canonical texts, these youthful traits are those of an adolescent, including the 'beauty folds' marking the neck. A small dimple indents the chin and the lips curve up in a slight smile. Wide arched eyebrows frame his small almond-shaped eyes. On his forehead, the ūrṇā is represented by a rectangular turquoise, accentuating the precious value of the deity. The monumental size of the figure implies the likelihood of its veneration in a chapel. In the Kathmandu Valley, chapels are small rooms situated at the end of the courtyard in monasteries. The abundance of copper mineral along the Kathmandu Valley has for centuries fostered the development of a diversified metalcraft industry, including in the city of Patan. Despite being part of a Buddhist sub-caste, bronze artisans in Newar society accommodated the different religious and iconographic prescriptions of their clients. Their excellent craftmanship warrants the exceptional popularity and influence their works gained in Tibet or abroad–reaching Beijing from the 13th century onwards. The impeccable gilding that is achieved using an amalgam of mercury, as well as the frequent use of inlaid fine stones, gave the statues an esteemed presence. One may only imagine how they glowed beneath the scintillating luminosity of butter lamps in temples and chapels, enhancing the sanctity of these spaces. Gilles Béguin January 2024 銅鎏金金剛總持像尼泊爾馬拉王朝早期十四世紀著錄 Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha：2000 Years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年，頁336，編號 141 展覽「Buddha：2000 Years of Buddhist Art，232 Masterpieces」，弗爾克林根，2016年6月24日至201

Estim. 7 000 - 9 000 EUR

STÈLE DE BOUDDHA EN PIERRE NOIRE, Inde du Nord-Est, période Pala, circa Xe siècle Le bouddha auréolé, représenté debout sur une base lotiforme, vêtu d’un sampot, accompagné de deux divinités, deux stupa dans la partie supérieure H. : 43 cm (environ) (around 16 ¾ in.) l. : 25 cm (9 ¾ in.) Provenance : Collection particulière monégasque A black stone stele of Buddha, Nord-east of India, Pala period, circa 10th century 印度东北部约十世纪石佛碑 -2 MOA 24 -2 MOA 24

Estim. 60 000 - 80 000 EUR

IMPORTANTE STÈLE REPRÉSENTANT LE BOUDDHA COURONNÉ EN PIERRE NOIRE Inde du Nord-Est, époque Pala, Xe/XIe siècle AN IMPORTANT BLACKSTONE PANEL OF CROWNED BUDDHA Northeastern India, Pala period, 10th/11th century 54cm (21in) high. Footnotes: 印度東北部帕拉時期十/十一世紀黑石寶冠佛碑 Provenance: The Collection of Mr. Paul E. Manheim, New York, by 1974 Sotheby's, New York, 20 September 1985, lot 266 Ulrich von Schroeder, October 2007 From a distinguished European collector Exhibited: On loan to the Walters Art Gallery, Baltimore, 1974-1985. 來源： Paul E. Manheim先生於1974年前珍藏，紐約紐約蘇富比，1985年9月20日，編號266 馮·施羅德，2007年10月歐洲顯赫私人珍藏展覽：於1974年至1985年借展於巴爾的摩沃爾特斯藝術博物館 This finely carved panel depicts a central image of Shakyamuni Buddha represented as a universal monarch according to the ancient Indian concept of spiritual sovereignty (charkavartin). Sculpted within a recessed niche, the enthroned Crowned Buddha meditates with an aloof, steadfast expression. Embellishing the trefoil arch above him, the flamboyant tail feathers of a pair of mythical swans (hamsa) swirl upward and converge with foliate scrolls spewed from the mouth of a central, horned 'face of glory' (kirtimukha). A second image of Buddha Shakyamuni, this time without regalia, appears at the panel's apex, ensconced between two halves of a gavaksha, a type of horseshoe arch frequented in the sacred architecture of northeastern India (Hardy, Indian Temple Architecture, 1995, p. 200, fig. 21.14). Several other panels with architectural compositions framing central Crowned Buddha images are published in Bautze-Picron, The Bejeweled Buddha from India to Burma, 2010, p. 99, nos. 121-4. With the addition of a diminutive figure carved right of center within the panel's bottom register, the present composition also commemorates one of the Ashtamahipritiharya (lit. 'the eight great miraculous events') of Buddha Shakyamuni's life. A monkey wearing a leaf skirt is shown leaning over a well, referencing 'The Miracle of Vaishali'. Vaishali was the city where Shakyamuni gives his last sermon, after which a monkey snatches his alms bowl and returns it full of honey. (The vessel depicted within the present Crowned Buddha's lap has crosshatched markings to denote it filled.) So thrilled that the great sage accepts his pious offering, the monkey accidently barrels headfirst into a well, causing his immediate death, but also his more auspicious rebirth in heaven. Another Pala stele with the monkey offering the bowl to a Crowned Buddha was sold at Bonhams, New York, 20 March 2018, lot 3224. The Miracle of Vaishali's depiction within the present panel, at the moment when the monkey descends into the well, and the Crowned Buddha being modelled in vajrasana pose, follow the manner in which this story is typically represented in the sculpture of Nalanda and Bodh Gaya (Bautze-Picron, The Forgotten Place: Stone Images from Kurkihar, Bihar, 2015, p. 86). The present carving's crisp definition and polished finish are also characteristic of the refined quality of stone sculpture produced for such preeminent centers of Buddhist worship in northeastern India. For further information on this lot please visit Bonhams.com

Paiement sécurisé

Les paiements en ligne sont sécurisés par Ingenico et les transactions cryptées.

Authentification

Chaque lot a été authentifié et expertisé par une Maison de Ventes.

Consultez notre aide ou contactez-nous

Composé de plusieurs filiales, le Groupe Drouot est un acteur incontournable du marché de l’art.
L’Hôtel Drouot, situé au cœur de Paris, est la plus grande place de ventes aux enchères publiques au monde, depuis 1852. 15 salles de ventes sont proposées à plus de 60 maisons de vente. L’émulation générée par une offre annuelle de 230 000 œuvres d’art issues de 21 grandes spécialités – de l’Antiquité au street art –, attire quelques 3 000 enchérisseurs chaque jour.
La plateforme digitale du Groupe, Drouot.com, propose des ventes digitales – Live (retransmission et participation aux enchères en direct), Online-only (ventes aux enchères dématérialisées) et Buy Now (ventes de lots à prix fixes). Près de 2 millions d’objets sont proposés par 600 maisons de vente.
L’actualité des enchères est relayée chaque semaine par La Gazette Drouot, l’hebdomadaire de référence du marché de l’art et du patrimoine édité par Auctionspress.

Le Groupe Drouot

Les opérateurs de vente agréés Drouot

Contacts

HÔTEL DROUOT

9, rue Drouot 75009 Paris, France

+33 (0)1 48 00 20 00

[email protected]

DROUOT.com

[email protected]

Visites & Privatisations