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PRINCE SIDDHARTHA GAUTAMA MEDITATING UNDER THE JAMBU TREE

In Ancient Art and Antiquities

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Ca. 200–300 AD. A grey chlorite-schist statue of Prince Siddhartha Gautama meditating beneath the Jambu tree. The figure is shown with the body held with a degree of relaxed strength, the head held up and the eyes closed in meditation. Between the brows is he urna and the nose is straight with small mouth and moustache above. The hair is neatly arranged and pulled to the back of the head. To the top of the head is turban with large fan shaped crest to the front and decorated with a small bust of the Buddha. To the black of the head is a large halo. Around the neck are three strands of necklaces, one falling diagonally over the chest with a series of amulet cases known as kavacha. The torso is bare apart from a loose fitting robe that hangs over the left shoulder and falls to the lap. The figure is seated on a low platform supported to either end by Greco-Bactrian columns. To the centre of the platform is a scene depicting Prince Siddartha breaking his fast and receiving an offering of rice from a young girl. To the other side are farmers ploughing with oxen., the two scenes divided by a tree. The sculpture represents Prince Siddartha, who would go on to become the Buddha, or “Enlightened One.” It combines the imagery of two scenes from the life of the Buddha, both taking place under a tree. As a young prince, Siddhartha, was taken into the fields to witness a plowing contest. He observed men sweating and exerting themselves as well as birds swooping down from the sky devouring insects. He soon became overwhelmed by these events, as they reflected the misery of human life and the inevitability of death. He left the contest and wandered until he found a wood apple (jambu) tree. He sat beneath this tree and entered into a trance. This event was a precursor to his subsequent meditation under the bodhi tree, which is symbolised by the young girl giving Siddartha a bowl of rice. After leaving his life of luxury at the palace, the prince joined a group of ascetics, but the future Buddha realised that punishing the body was not the way to find enlightenment and an end to suffering; nor was an indulgent life of pleasure that he experienced as a prince. Nearly at the point of death, the Buddha accepted an offering of food from a young peasant girl and thus broke with the extreme views of the ascetics. After recovering his health the Buddha realised that a middle way was required to find salvation, and so he set off to find a place to meditate and find the answers to the end of suffering. At a royal deer park at Sarnath, near the holy city of Varanasi on the Ganges, the Buddha sat beneath a Bidhi tree and meditated. After several years of mendicancy, meditation, and asceticism, he awakened to understand the mechanism which keeps people trapped in the cycle of rebirth. The Buddha then travelled throughout the Ganges plain teaching and building a religious community. The Buddha taught a middle way between sensual indulgence and the severe asceticism found in the Indian shrama?a movement. He taught a training of the mind that included ethical training, self-restraint, and meditative practices such as jhana (meditation) and mindfulness. The Buddha also critiqued the practices of Brahmin priests, such as animal sacrifice and the caste system. The figure can be distinguished from the enlightened images of the Buddha by the sumptuous robes and jewellery. The Buddha as an enlightened being is shown in the simple robes of a monk, no longer requiring the trappings of the material world. The Jambu/Bodhi tree behind the figure is beautifully rendered and forms a canopy protecting the prince whilst he meditates, and is reminiscent of the Naga serpent spreading its protective hood, that is depicted in images when he becomes the Buddha. The face of the prince shows calm resoluteness in his pursuit of the truth. Sometimes the fan shaped crest to the diadem has a lion decoration to it, but in this case it is the figure of the Buddha, a symbol of what the young prince will achieve in the near future. The piece shows the clear and crisp rendering of the robes, that recalls the styles of Hellenistic sculptures. Very often there are architectural elements that hint at the fusion of cultures that took place in the Gandhara region. In this case the columns display a fusion of Greek and Bactrian styles, whilst at other times they can be either purely Greek or Persian. The item was researched by Bret Gaunt. For a similar image see The Metropolitan Museum of Art, accession number 2005.314. For more information about Gandharan art, see Jongeward, D. (2019). Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford: Oxford University Press. Provenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection. Size: L:650mm / W:370mm ; 30k+g

Ca. 200–300 AD. A grey chlorite-schist statue of Prince Siddhartha Gautama meditating beneath the Jambu tree. The figure is shown with the body held with a degree of relaxed strength, the head held up and the eyes closed in meditation. Between the brows is he urna and the nose is straight with small mouth and moustache above. The hair is neatly arranged and pulled to the back of the head. To the top of the head is turban with large fan shaped crest to the front and decorated with a small bust of the Buddha. To the black of the head is a large halo. Around the neck are three strands of necklaces, one falling diagonally over the chest with a series of amulet cases known as kavacha. The torso is bare apart from a loose fitting robe that hangs over the left shoulder and falls to the lap. The figure is seated on a low platform supported to either end by Greco-Bactrian columns. To the centre of the platform is a scene depicting Prince Siddartha breaking his fast and receiving an offering of rice from a young girl. To the other side are farmers ploughing with oxen., the two scenes divided by a tree. The sculpture represents Prince Siddartha, who would go on to become the Buddha, or “Enlightened One.” It combines the imagery of two scenes from the life of the Buddha, both taking place under a tree. As a young prince, Siddhartha, was taken into the fields to witness a plowing contest. He observed men sweating and exerting themselves as well as birds swooping down from the sky devouring insects. He soon became overwhelmed by these events, as they reflected the misery of human life and the inevitability of death. He left the contest and wandered until he found a wood apple (jambu) tree. He sat beneath this tree and entered into a trance. This event was a precursor to his subsequent meditation under the bodhi tree, which is symbolised by the young girl giving Siddartha a bowl of rice. After leaving his life of luxury at the palace, the prince joined a group of ascetics, but the future Buddha realised that punishing the body was not the way to find enlightenment and an end to suffering; nor was an indulgent life of pleasure that he experienced as a prince. Nearly at the point of death, the Buddha accepted an offering of food from a young peasant girl and thus broke with the extreme views of the ascetics. After recovering his health the Buddha realised that a middle way was required to find salvation, and so he set off to find a place to meditate and find the answers to the end of suffering. At a royal deer park at Sarnath, near the holy city of Varanasi on the Ganges, the Buddha sat beneath a Bidhi tree and meditated. After several years of mendicancy, meditation, and asceticism, he awakened to understand the mechanism which keeps people trapped in the cycle of rebirth. The Buddha then travelled throughout the Ganges plain teaching and building a religious community. The Buddha taught a middle way between sensual indulgence and the severe asceticism found in the Indian shrama?a movement. He taught a training of the mind that included ethical training, self-restraint, and meditative practices such as jhana (meditation) and mindfulness. The Buddha also critiqued the practices of Brahmin priests, such as animal sacrifice and the caste system. The figure can be distinguished from the enlightened images of the Buddha by the sumptuous robes and jewellery. The Buddha as an enlightened being is shown in the simple robes of a monk, no longer requiring the trappings of the material world. The Jambu/Bodhi tree behind the figure is beautifully rendered and forms a canopy protecting the prince whilst he meditates, and is reminiscent of the Naga serpent spreading its protective hood, that is depicted in images when he becomes the Buddha. The face of the prince shows calm resoluteness in his pursuit of the truth. Sometimes the fan shaped crest to the diadem has a lion decoration to it, but in this case it is the figure of the Buddha, a symbol of what the young prince will achieve in the near future. The piece shows the clear and crisp rendering of the robes, that recalls the styles of Hellenistic sculptures. Very often there are architectural elements that hint at the fusion of cultures that took place in the Gandhara region. In this case the columns display a fusion of Greek and Bactrian styles, whilst at other times they can be either purely Greek or Persian. The item was researched by Bret Gaunt. For a similar image see The Metropolitan Museum of Art, accession number 2005.314. For more information about Gandharan art, see Jongeward, D. (2019). Buddhist Art Of Gandhara in the Ashmolean Museum. Oxford: Oxford University Press. Provenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection. Size: L:650mm / W:370mm ; 30k+g

Ancient Art and Antiquities

Auktionsdatum
Lose: 331
Ort der Versteigerung
25 Bury Place
Bloomsbury
London
WC1A 2JH
United Kingdom

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Wichtige Informationen

After a major investment and change in management Pax Romana Auctions rebranded to become the exclusive London Apollo Galleries! 
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Apollo Art Auctions Limited Terms and Conditions

 

  1. Terms of Sale

 

1.1 Apollo Art Auctions Ltd, a company registered in England with registered number 11450370 and with a registered office at 10-12 Mulberry Green, Old Harlow, Essex CM17 0ET ("Apollo Art Auctions". "we" or "us"), carries on business with Bidders, Buyers and Sellers (as defined below) on the following Auction Terms and Conditions, the Terms of Consignment for Sellers, and on such other terms, conditions and notices as may be referred to herein or that may be amended by way of notices posted in the saleroom or by way of announcements made by us.

 

1.2 Bidders should carefully read the Auction Terms and Conditions (the "Terms and Conditions") and Terms of Consignment for Sellers prior to bidding at auction, as Bidders and Buyers will be deemed to have accepted these terms and conditions once a bid has been placed.

 

1.3 We act as agent for the Seller whose identity, for reasons of confidentiality, is not normally disclosed to the Buyer. If a Buyer is the successful Bidder on the fall of the hammer, the contract of sale is made directly between the Buyer and the Seller.

 

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In these Terms and Conditions, the following words have the following meanings:

 

Bid: an amount offered by a Bidder to purchase a Lot.

 

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3.4 The nature of the Lots sold at auction by Apollo Art Auctions is such that they are likely, due to their nature and their age, to show signs of wear and tear, damage, or other imperfections, restoration or repair. Any reference to condition by Apollo Art Auctions will not amount to a full description of condition. Photographs included in Apollo Art Auctions’ sale catalogues are not representative of the condition of any Lot.

 

3.5 We may describe the Lots using the following descriptions: 

Restored: the Lot may have been repaired or otherwise reinstated and some parts may have been replaced;

Fair Condition: the Lot may be fragmentary or have some obvious damaged; 

Fine Condition: the Lot is likely to be generally complete but may have minor damage or evidence of restoration or repair;

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3.8 Subject to the conditions set out in this clause 3, Apollo Art Auctions exercises reasonable care when making statements of opinion consistent with its role as a regional auction house, based on information provided by the Seller, available scholarship, and the generally accepted opinions of relevant experts (at the time any such expert expressly states such opinion). We are in no way required to seek the opinion of any expert outside Apollo Art Auctions.

 

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5.6 Apollo Art Auctions expressly reserves the right to bid on behalf of the Seller up to the amount of any reserve. We may at our sole discretion refuse any Bid from any Bidder, and to withdraw or re-offer any Lot if we believe there has been an error or dispute. Any dispute about a Bid shall be settled at Apollo Art Auctions’ absolute discretion, always acting reasonably.

 

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5.8 Bidding increments shall be at Apollo Art Auctions’ sole discretion.  By way of example only, bidding increments may be:

 

(a)    £0 to £99 – in increments of £5

(b)   £100 to £199 – in increments of £10

(c)    £200 to £499 – in increments of £20

(d)   £500 to £999 – in increments of £50

(e)    £1,000 to £1,999 – in increments of £100

(f)    £2,000 to £4,999 – in increments of £200

(g)   £5,000 to £9,999 – in increments of £500

(h)   £10,000 to £19,999 – in increments of £1,000

(i)     £20,000 to £49,999 – in increments of £2,000

(j)     £50,000 to £99,999 – in increments of £5,000

(k)   £100,000 to £249,999 – in increments of £10,000

(l)     £250,000 and up – in minimum increments of £25,000

 

Apollo Art Auctions is not bound to implement any of the above increments.

 

5.9 It is the responsibility of the Bidder to ensure that Bids are made accurately. We are not responsible for any technical failure or otherwise which results in bids not being received.

 

5.10 Bidders will receive future notifications by email and may be sent catalogues for future sales. Any Bidder who does not wish to receive this information should contact us at auction@apollogalleries.com to opt out.

 

6. Title, Risk

6.1 Title in a purchased Lot is retained by the Seller and shall only pass to the Buyer when the Purchase Price and all other sums payable by the Buyer have been received by Apollo Art Auctions in full and cleared funds.

 

6.2 Risk for the Lot passes to the Buyer at the time the Lot is sold to the Buyer. Apollo Art Auctions is not responsible for loss or damage to any Lot at any time.

 

7. Collection or Delivery

7. 1 Once payment of all sums due have been received in full and cleared funds, we will release the Lot to the Buyer for collection. The Buyer must collect, or arrange the collection of, all purchases from our premises at 25 Bury Place, WC1A 2JH, within seven working days following the Date of Sale (subject always to payment being received in full by us). All packing and handling of Lots will be at the Buyer's sole risk.

 

7.2 Lots not collected may be removed and stored and will only be release once any relevant storage costs have been paid in full. If the storage charges reach 50% of the Hammer Price paid or after the expiration of three months from the transfer date, whichever occurs first, we may re-sell any and all lots stored without notice and in any manner at our sole discretion and to apply any proceeds in defrayment of such costs. The Buyer will be entitled to receive any credit balance above the amount of the costs on request but will remain liable for any deficit.

 

7.3 Upon request we will arrange delivery of purchased Lots subject to payment of an agreed fee. We do not insure Lots in transit but can arrange insurance at Buyer's written request. Delivery will be exercised as agreed with the Buyer, and unless otherwise specified by us during the working days and hours only following the sale. We ship paid lots up to 3 working days after payment of all monies owed by the Buyer is received.

 

8. Failure to pay the Purchase Price

8.1 If the Purchase Price and/or all sums payables are not paid in full when they fall due and/or the Lot is not removed in accordance with these terms, we will without further notice to the Buyer be entitled to exercise one or more of the following rights:

 

(a)      to terminate the agreement for sale immediately.

(b)     to retain possession of the Lot and to exercise a lien over any of the Buyer's property in our possession for any purpose until the debt due is satisfied.

(c)      to remove and/or store the Lot at the Buyer’s expense.

(d)     to take legal proceedings against the Buyer on behalf of the Seller for payment of any sums due.

(e)      to release the name and address of the Buyer to the Seller to enable the Seller to commence legal proceedings to recover the amounts due and legal costs. We will take reasonable measures to notify the Buyer prior to releasing such details to the Seller.

(f)      to charge interest on any monies due at the annual rate of 8% per annum from time to time to be calculated on a daily basis from the date upon which such monies became payable until the date of actual payment.

(g)     to sell the Lot without a Reserve Price at auction and apply any proceeds against the amount owing by the Buyer.

(h)     to apply any monies received from the Buyer in payment or part payment of any sums due from the Buyer under these Terms; and/or

(i)       to refuse to allow the Buyer to register for a future sale or to reject any future Bid made by the Buyer.

 

8.2 We shall, as agent for the Seller and on our own behalf 

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