拍品描述:东印度 帕拉王朝 十二世纪 铜错银铜嵌宝观音像 Himalayan Art Resources item no. 13834. HAR编号13834 For further information on the condition of this lot please contact Alexandra.Farahnik@sothebys.com French Private Collection since the 1970s. Acquired in Toulouse, 2002. This supremely elegant eastern Indian Pala bronze depicts the bodhisattva Avalokiteshvara seated in the regal posture of lalitasana with his right foot resting on a lotus flower. The sculpture is distinguished by the extensive silver and copper inlay to eyes and lips, jewelry and textile patterns, cf. the silver eyes and urna, copper inlaid lower lip, silver necklace and silver and copper inlaid armbands with the Pala bronze Manjushri sold in these rooms, 24th March 2011, lot 26, and now on long-term loan to the Metropolitan Museum of Art, New York. The Avalokiteshvara has further copper and silver decoration on the crown panels and the jewel finial (cintamani) above the chignon (jatamukuta), the rosettes on the lower garment and the sash across the torso. Both the Avalokiteshvara and the Manjushri exhibit the rare feature of a band along the lower rim of their lotus pedestals representing the cosmic ocean from which the lotus flower emerges. In another rare feature, the Avalokiteshvara is cast separately from the copper pedestal, the rich color of the red copper contrasting with and highlighting the jewel-like copper alloy figure of the deity. This decorative sculptural device was developed in the Pala period, cf. a silver Manjushri standing on a separately cast gilt-copper base in the Cleveland Museum of Art, see David Weldon and Jane Casey Singer, The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam Collection, London, 1999, pp 22-23, figs 15 and 16. Like the silver figure, the Avalokiteshvara is inset with gems as well as metal inlay, with green stones in the lotus flowers and crown ties. Further similarities with the Cleveland statue include the inlaid necklace pendants, the sacred thread (upavita) with a copper inlaid knot at the chest, and the close resemblance of the divine, otherworldly expression in the eyes and lips. The Cleveland Museum of Art suggests a twelfth century date for the silver Manjushri and an eastern Indian provenance of Bengal, https://www.clevelandart.org/art/1982.48. A similar date and provenance may be attributed to the Avalokiteshvara, cf. detail and sculptural style of a late eleventh or early twelfth century black stone stele of Avalokiteshvara from West Dinajpur District, Bengal, see Susan L. Huntington, The Pāla-Sena Schools of Sculpture, Leiden, 1984, pl. 237. This exquisite figure of Avalokiteshvara represents the epitome of the eastern Indian Pala period sculptural tradition that had lasting influence on the art of Tibet. And it must have been bronzes such as this — many of which found their way to Tibet in medieval times — that inspired the revival of the Pala aesthetic in the eighteenth century, where Chinese and Tibetan Pala style bronzes are often decorated with the same copper and silver textile design. 本像来自东印度帕拉，刻划观世音菩萨作半跏坐姿，右足置于莲花之上，双目、嘴唇、璎珞及衣袍错银铜可比较一帕拉铜文殊菩萨像作例，售于纽约苏富比2011年3月24日，编号26，现时长期借展于纽约大都会艺术博物馆。本像红铜底座与佛像分开铸造，相映之下，佛像更显华丽。这种装饰手法源自帕拉时期，相近作例可参考一尊银文殊菩萨像，铜鎏金底座，现藏于克里夫兰艺术博物馆，参考David Weldon 和 Jane Casey Singer，《The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam Collection》，伦敦，1999 年，页22-23，图15、16。克里夫兰艺术博物馆认为该像制于十二世纪东印度孟加拉国 https://www.clevelandart.org/art/1982.48。本像相信也是制于相近时期和地点。东印度帕拉时期造像传统对西藏艺术影响深远，本像正是帕拉佛学的卓越佳作，珍稀难得。 展开