BOÎTE CYLINDRIQUE COUVERTE EN BRONZE ARCHAÏQUE À DÉCOR INCISÉDynastie des Zhou orientaux (770-221 avant J.-C)AN ARCHAIC BRONZE INCISED-DECORATED CYLINDRICAL BOX AND COVER Eastern Zhou Dynasty (770-221 BC)The unusual box decorated with incised designs of mythical birds and other creatures with two circular hoops for attachment. 8.5cm (3 1/8in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) The present box may have been used to store needles and threads. Compare a similar example, late Zhou dynasty, formerly in the collection of Dr Franco Vannotti, illustrated in Mostra d'Arte Cinese / Exhibition of Chinese Art, Venice, 1954, p.36, no.74, and a related cylindrical box and cover, Eastern Zhou dynasty, illustrated by J.Rawson and E.Bunker, Ancient Chinese and Ordos Bronzes, Hong Kong, 1990, pp. 128-129, no.37.A related rare bronze cylindrical box and cover, Warring states period, was sold at Sotheby's New York, 22 March 2022, lot 44.東周 青銅鳥獸紋蓋筒來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
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PLAQUE EN BRONZE ARCHAÏQUE EN FORME DE DRAGONDynastie Zhou (1050-221 av. J.-C.)AN ARCHAIC BRONZE 'DRAGON' PLAQUE Zhou Dynasty (1050-221 BC)Cast as a stylised dragon rendered with fine incisions defined with a long curled tail and the mythical beast's horn, eye and fangs, stand. 11cm (4 2/8in) wide. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) 周 青銅龍形飾來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
TROIS VIROLES EN BRONZE ARCHAÏQUEDynastie des Zhou orientaux (770-221 av. J.-C.)THREE ARCHAIC BRONZE FERRULESEastern Zhou Dynasty (770-221 BC)Each with a teardrop-shaped socket at one end enclosed by smooth conforming sides incised with geometric designs, ringed by a raised border followed by a hexagonal-section shaft with a waisted neck. 14.5cm (5 6/8in), 13.5cm (5 2/8in) and 11.7cm (4 1/2in) long. (3).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) Compare with two related bronze ferrules, Eastern Zhou dynasty, in the Metropolitan Museum of Art, New York, illustrated in Ancient Chinese Art: The Ernest Erickson Collection, New York, 1983, nos.33-34. Two other related bronze ferrules, Eastern Zhou dynasty, are illustrated by J.Rawson and E.Bunker, Ancient Chinese and Ordos Bronzes, Hong Kong, 1990, pp.179-181.東漢 青銅飾 一組三件來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
ORNEMENT EN BRONZE ARCHAÏQUE EN FORME DE TÊTE DE TAPIRDynastie des Zhou orientaux (770-221 av. J.-C.)AN ARCHAIC BRONZE 'TAPIR' FINIAL Eastern Zhou Dynasty (770-221 BC)The shaft finely cast in a twisted rope design, perforated with two circular sockets ending with the head of a tapir defined by a elongated snout and large ears, 10cm (4in) high, stand; together with a pair of bronze hoops, Zhou/Han dynasty (1050-221 BC/206 BC-220 AD), shaped as two conjoined ducks, 10.5cm (4 2/8in) wide. (4).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) Compare with a related bronze zoomorphic ferrule, Eastern Zhou dynasty, in the Freer Gallery of Art, Washington DC (acc.no.S2012.9.2307).東周 青銅貘形飾來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
VASE RITUEL EN BRONZE ARCHAÏQUE, GUFin de la dynastie Shang (ca XII-XIe siècles av. J.-C.)A RARE ARCHAIC BRONZE RITUAL WINE VESSEL, GU Late Shang Dynasty (circa 12th-11th century BC)Finely cast with a slender flanged central section decorated with taotie masks, between the neck rising to the trumpet shaped mouth decorated with a foliate border below the cicada blades, and the splayed tall flanged foot similarly cast with taotie masks, all against leiwen ground, raised on a short straight circular foot, the interior plain and the underside with three pictograms reading Ding Ji and a clan sign, the bronze with attractive encrustation and verdigris. 29cm (11 3/8in) high.Footnotes:Provenance:Robert Rousset, Paris (1901-1981); according to a note by Jean-Pierre Rousset this gu was found in Houjiashuang, Xibeigang Royal cemetery at Anyang in 1934Jean-Pierre Rousset, Paris (1936-2021)Bronze gu vessels such as the present lot were among the most important objects used in State rituals of the late Shang dynasty. Similar archaic bronze gu vases from the late Shang dynasty can be found in a number of important museum collections.Compare with two similar gu illustrated in Bronzes in the Palace Museum, Beijing, 1999, pp.68-69, nos.40 and 43; see another similar gu dated to the middle/late Anyang period, illustrated in Shang Ritual Bronzes in the National Palace Museum Collection, Taipei, 1998, pp.280-283, no.41l; and another example in the Henan Provincial Museum, illustrated in Zhongguo Meishu Fenlei Quanji: Zhongguo Qingtongqi Quanji: Shang, vol.IV, Beijing, 2006, p.67, no.69.The blade motif at the neck of these slender vessels is an Anyang innovation. See R.Bagley, Shang Ritual Bronzes in the Arthur M.Sackler Collections, p.229. A similar gu, late Shang dynasty, excavated in Anyang, now in the Institute of Archaeology, The Chinese Academy of Social Sciences, Beijing, is illustrated by Li Jianwei and Niu Ruihong, Zhongguo Qingtong ji tulu, vol.I, Beijing, 2005, p.118 (top); see also a related excavated example, unearthed at Yongdoucun, Majiahe, Yanchuan county, Shaanxi Province, in the Cultural Relics Institute of Yan'an, Shaanxi Province, illustrated in Bronzes from Northern Shaanxi, vol.II Chengdu, 2009, p.155; and another excavated from the Shang tomb at Xiaqiyuan, Ci county, in the collection of the Hebei Museum, illustrated in National Treasures of Hebei Province, Hebei, 2008, p.100.Compare with a related archaic bronze ritual wine vessel, gu, late Shang dynasty, which was sold at Bonhams London, 11 May 2021, lot 12.商晚期 青铜饕餮纹觚來源：巴黎Robert Rousset（1901-1981）舊藏巴黎Jean-Pierre Rousset（1936-2021）舊藏據Jean-Pierre Rousset記錄記載，本拍品於1934年出土於安陽侯家莊西北岡For further information on this lot please visit Bonhams.com
VASE COUVERT TRIPODE EN BRONZE DORÉ À DÉCOR INCISÉ DE SCÈNE DE CHASSE ET D'ANIMAUX FANTASTIQUES, LIANDynastie des Han occidentaux (206 av. J.-C. - 9 ap. J.-C.)A VERY RARE GILT-BRONZE INCISED 'HUNTING SCENE' TRIPOD CONTAINER AND COVER, LIANWestern Han Dynasty (206 BC-9 AD)The cylindrical vessel raised on three kneeling bear supports, divided into registers by three bowstrings, variously decorated around the sides with an intricate incised designs of lappets and scrollwork with a scene of a man wielding a spear hunting a mythical beast, flanked with a pair of taotie-mask and ring handles, the cover with an external border decorated with a similar hunting scene, around the internal medallion with lappets alternating with six animals including an owl and a toad around a four lappets encircling an aperture. 23.5cm (9 2/8in) diam. x 23.5cm (9 2/8in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) Cast as a miniature 'mountain' decorated with spear-armed men hunting mythical beasts, the present vessel was once entirely gilt and thus particularly precious. Although the shape is probably inspired by ritual wine containers, zun, produced during the Warring States period (475-221 BC), the vessel could have been used also as a cosmetic box or in the ritual context, may have acted as a visual aid for the tomb occupant to envision the mythical Immortal land of Penglai which they were hoped to reach in their afterlife.According to the Classic of Mountains and Seas, Shanhai Jing, likely compiled during the 4th century BC, Penglai was one of the Immortal islands located in the Eastern Bohai sea, which vanished from sight as voyagers glimpsed them and hoped to land on them in their search of Immortality-granting elixirs. These islands were defined by high mountains dotted with caves where Immortals were thought to live. Based on the Daoist idea of a peaked island, the miniature landscape presented on this vessel may have represented the deceased's journey through a winding obstacle-laden landscape, in search of the elixir of eternal life. '(..) Having transcended sacred mountains, one will gain supernatural powers, controlling the wind and rain, and finally reach to Heaven, the Abode of the Celestial Emperor', mentions the 'Masters from Huainan', Huainanzi, in the 2nd century BC. See A.G.Wenley, 'The Question of the Po-Shan-Hsiang-Lu', in Archives of the Chinese Art Society of America, no.3, 1948, pp.5-12.Mountains were highly regarded in China as primary components of the universe, because of their ability to produce water, the life-giving element, from the clouds swirling around them. They were linked with a profound interest in meeting the Immortal spirits inhabiting their naturally high peaks, which provided the closest connection with heaven. From at least the time of emperor Wudi (r.141-87 BC), the mountains located on the Immortal islands in the Eastern Sea were thought to be reached in two ways, wither during one's earthly lifespan, through the ingestion of magical potions, or following one's death, through the preservation of the body and soul in the burial. See J.Rawson, Mysteries of Ancient China: New Discoveries From the Early Dynasties, London, 1996, pp.172-173; see also S.Erickson, 'Boshanlu: Mountain Censer of the Western Han Period: A Typological and Iconographical Analysis', in Archives of Asian Art, 1992, vol.45, pp.6-28. The animals populating the mythical mountain depicted on the present vessel were probably inspired by the mythical creatures inhabiting the wondrous realms described in the Shanghai Jing (Classic of Mountains and Seas), the Huainanzi, compiled sometime before 139 BC, and the Zhuangzi (Master Zhuang) of the late Warring States period (476-221 BC). It is also quite possible that the animals may have been inspired by those involved in the imperial hunts that were carefully staged in the royal parks during the Han dynasty. The Han emperors had an unprecedented passion for building brilliant parks of great size where the rulers staged symbolical conquests of the natural world through ritual hunts and animal combats. See E.H.Schafer, 'Hunting Parks and Animal Enclosures in ancient China', in Journal of the Economic and Social History of the Orient, 1968, vol.11, no.3, pp.318-343.The taotie mask designs decorating the ring handles and the three bears shaping the feet were probably aimed at protecting the deceased against the evil influences they may encounter in their afterlife. Although the actual significance of the taotie motif is still the subjects of extensive academic research, it is mentioned in the 'Spring and Autumn Rituals' as bodiless monster swallowing hostile tribes. By the same token, the 'Classics of Mountains and Seas' praises the bear for its bravery and refers to the creature as the gate guardian of the mythical mountains invoked by Daoists. See D.Jenkins (et al.), Mysterious Spirits, Strange Beasts, Earthly Delights: Early Chinese Art from the Arlene and Harold Schnitzer Collection, Portland, 2005, pp.34-35.Compare a closely related gilt openwork lian and cover, Han dynasty, in the Cleveland Museum of Art (Leonard C. Hanna, Jr. Fund 1972.44); see also a related gilt and silver bronze example, Han dynasty, in the Minneapolis Institute of Art (acc.no.50.46.49a,b).A related bronze un-gilt and plain lian and cover, Han dynasty, with tiger supports and ram finials, was sold at Sotheby's New York, 22 March 2011, lot 195.Réalisé à l'image d'une montagne miniature et décoré d'hommes armés de lances chassant des animaux fabuleux, ce vase tripode était à l'origine entièrement doré et donc particulièrement précieux. Bien que sa forme soit probablement inspirée des récipients rituels à alcool de type zun, produits durant l'époque des Royaumes Combattants (475 – 221 av. J.-C.), ce récipient a aussi pu servir de boîte à cosmétiques ou, dans un contexte rituel, faire office de support visuel pour aider l'occupant de la tombe à imaginer l'île mythique des immortels Penglai, dans l'espoir d'atteindre l'au-delà.Selon le Classique des Montagnes et des Mers, Shanhai Jing, sans doute compilé au IVe siècle av. J.-C., Penglai était une des îles des Immortels situées dans la mer orientale de Bohai, îles qui disparaissaient une fois aperçues par les voyageurs espérant y parvenir dans leur quête de l'élixir d'immortalité. Ces îles étaient formées de hautes montagnes parsemées de grottes où vivaient, pensait-on, les Immortels.Basé sur l'idée taoïste d'une île formant un pic montagneux, le paysage miniature présenté sur ce récipient pourrait avoir représenté le voyage du défunt à travers un paysage sinueux plein d'obstacles, à la recherche de l'élixir d'immortalité. « (...) Après avoir dépassé les montagnes sacrées, on obtiendra des pouvoirs magiques, contrôlant le vent et la pluie, et on accèdera finalement au Ciel, « la Demeure de l'Empereur Céleste » dit le Huainanzi (Le Maître de Huainan) au IIe siècle av. J.-C. Voir A. G. Wenley, «The Question of the Po-Shan-Hsiang-Lu », dans Archives of the Chinese Art Society of America, n°3, 1948, pp.5-12.Les montagnes étaient considérées avec un grand respect, en Chine, en tant qu'éléments primordiaux de l'univers, en raison de leur capacité à produire de l'eau, l'élément donnant la vie, depuis les nuages tourbillonnant autour d'elles. Elles étaient associées au d... For further information on this lot please visit Bonhams.com
PLAQUE EN BRONZE ARCHAÏQUE PARTIELLEMENT DORÉ, PAIRE DE PLAQUES EN BRONZE DORÉ, ET UNE PETITE PLAQUE EN BRONZE EN FORME DE DAIMOrdos, vers le VIe – Ier siècle av. J.-C. AN ARCHAIC PARCEL-GILT BRONZE PLAQUE; A PAIR OF GILT-BRONZE PLAQUES; AND A SMALL DEER-SHAPED BRONZE PLAQUE Ordos, circa 6th-1st century BCComprising, one plaque parcel gilt and decorated with a pair of recumbent horses, the legs bent and tucked under their well-defined muscular bodies, circa 2nd century BC 10cm (4in) wide x 4.7cm (1 3/8in) high; a pair of reticulated gilt-bronze plaques, decorated with openwork designs of sinuous dragons, circa 2nd century BC, 6cm (2 3/8in) long x 3.9cm (1 1/2in) wide; together with a small plaque shaped as a deer with its legs folded beneath the body, the long antlers held parallel close to its back, 6th century BC, 4cm (1 1/in) long. (4).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) Compare the central belt plaque with a similar pair of belt plaques, 2nd century BC, illustrated by J.Rawson and E.Bunker, Ancient Chinese and Ordos Bronzes, Hong Kong, 1990, p.346, no.225. The author notes that 'two pairs of identical plaques were excavated at Xichagou, Xifeng, northeast Liaoning Province, and at Daodunzi in Tongxin, Ningxia, both sites associated with the Xiongnu'. A set of twenty similar bronze 'deer' garment ornaments, 6th century BC, is illustrated by J.F.So and E.C.Bunker, Traders and Raiders on China's Northern Frontier, Seattle, 1995, p.160, no.83.鄂爾多斯 約公元前六至一世紀 局部鎏金銅馬紋飾牌、鎏金銅獸紋飾牌一對、及青銅鹿形飾牌 一組四件來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
COUTEAU EN BRONZE À TERMINAISON EN TÊTE DE DAIMOrdos, XIIe-XIe siècle av. J.-C. A BRONZE 'DEER' HANDLED KNIFE Ordos, 12th-11th century BCFinely cast with a curved blade the shaft decorated with geometric designs terminating in a deer head defined by curving horns and long snout. 27cm (10 5/8in) long.Footnotes:Provenance:Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021) Compare a similar bronze knife, 12th-11th century BC, illustrated by J.F.So and E.C.Bunker, Traders and Raiders on China's Northern Frontier, Seattle, 1995, pp.101-102, no.15.鄂爾多斯 公元前十二至十一世紀 青銅鹿紋柄刀來源：巴黎Robert Rousset（1901-1981）舊藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
PAIRE DE PLAQUES EN BRONZE ARCHAÏQUE À DÉCOR AJOURÉ DE CHAMEAUXOrdos, IIe-Ier siècle av. J.-C.A PAIR OF ARCHAIC BRONZE OPENWORK 'CAMEL' PLAQUES Ordos, 2nd-1st century BCEach cast with reticulate designs depicting a Bactrian camel, facing right with its legs folded beneath its body, the head raised and surrounded by stylised stalks and foliage, all set within a B-shaped frame, two stands. 11cm (4 3/8in) wide x 7cm (2 6/8in) high. (4).Footnotes:Provenance:Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021) Compare with a related bronze plaque depicting a Bactrian camel fighting a tiger, Ordos, 2nd-1st century BC, illustrated by E.Bunker, Ancient Bronzes of the Eastern Eurasian Steppes, New York, 1997, no.223, pp.260-261.鄂爾多斯 公元前二至一世紀 青銅駱駝紋飾牌一對來源：巴黎Robert Rousset（1901-1981）舊藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
MIROIR CIRCULAIRE EN BRONZEDynastie des Han orientaux (25-220)A BRONZE CIRCULAR MIRROREastern Han Dynasty (25-220 AD)The central knop encircled by a band of sinuous bixie cast in high relief within a band of incised semi-circles alternating with squares, each marked with a stylised character, enclosed within an upright comb pattern band, a border bearing a running inscription and an outer band of tight scroll motifs. 9.5cm. (3 3/4in) diam.Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) The groups of four characters in the cartouches can be transcribed:幽諫三商 配像国疆 窥德序道 敬奉豆（賢）良 周刻無耻（止） 白牙擧樂 染調主陽 聖德光明 富吉安樂 子孫番（蕃）昌 生如金石 土理高升Which may be translated as:'In seclusion I have refined this mirror for three periods. Its virtue matches that of the 10,000 regions. It gives form to virtue and order to the Dao. Respectfully it is offered to a good minister. It is decorated all around with blessings [engraved in a circle] without [interruption]. Bo Ya performed the music. In a multitude of blessings may the forces of yang preponderate. May wisdom and virtue shine radiantly. May there be riches, blessings, peace and joy. May your descendants flourish and spread widely. May your life be as enduring as metal and stone. May your position reach a high level. May the master of this mirror have a long life.'A very similar bronze mirror, Eastern Han dynasty is illustrated by J.Rawson and E.Bunker, Ancient Chinese and Ordos Bronzes, Hong Kong, 1990, p.256, no.175.東漢 青銅神人神獸紋鏡來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
FIBULE EN BRONZE ARCHAÏQUE INCRUSTÉ D'OR ET DE TURQUOISEDynastie Han (206 av. J.-C - 220 ap. J.-C)AN ARCHAIC GOLD AND TURQUOISE-INLAID BELT HOOK Han Dynasty (206 BC-220 AD)Inlaid on the arched shaft in gold sheet with an intricate geometric design and filled in with turquoise inlay, the underside with a circular knop. 21cm (8 2/8in) long.Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) Compare with a related turquoise-inlaid belt hook, Warring States period, which was sold at Bonhams San Francisco, 28 June 2016, lot 8153.漢 銅錯金嵌松石帶鉤來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
RARE STATUETTE DE BOUDDHA EN BRONZE DORÉDynastie Sui (589-618)A RARE SMALL GILT-BRONZE FIGURE OF BUDDHASui Dynasty (589-618 AD)Cast standing with the the left arm extended in kataka mudra, the right probably in abhaya mudra, his wearing a long robe falling from the shoulders in undulating folds, the face with a compassionate expression, the hair gathered in a high chignon, stand. 7cm (2 6/8in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) Compare with a related but seated gilt-bronze figure of Buddha, Sui/early Tang dynasty, from the Stoclet collection, which was offered at Sotheby's Hong Kong, 12 October 2021, lot 3508.隋 鎏金銅佛像來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
MIROIR EN BRONZE ARGENTÉ À DÉCOR D'ANIMAUX FANTASTIQUESDynastie Tang (618-906)A SILVERED BRONZE 'MYTHICAL BEASTS' MIRRORTang Dynasty (618-906 AD)Cast in high relief to the centre with three pairs of various confronted animated mythical beasts within an upright saw-tooth pattern border, the recessed well cast with a running inscription, within a raised border of further saw-tooth and floral diaper bands. 15cm (5 7/8in) diam.Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) Compare with two related bronze mirrors, Tang dynasty, illustrated by Ju-hsi Chou, Circles of Reflection: The Carter Collection of Chinese Bronze Mirrors, Cleveland, 2000, pp.62-63, nos.50-51.唐 鎏銀銅瑞獸紋鏡來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
MIROIR EN BRONZE ARGENTÉ À DÉCOR DE LIONS, OISEAUX ET VIGNESDynastie Tang (618-906)A SILVERED BRONZE 'LION, BIRDS AND GRAPEVINE' MIRRORTang Dynasty (618-906 AD)The heavily cast mirror decorated with an inner band of four exotic long-tailed birds amongst entwined fruiting grape vines, within a raised saw-tooth and geometric pattern border, the outer band with two prancing lions amongst running grape vine, within a larger saw-tooth and foliate scroll band. 12cm (4 3/4in) diam.Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) For a similar example, see Ju-hsi Chou, Circles of Reflection: The Carter Collection of Chinese Bronze Mirrors, Cleveland, 2000, no.55, where the author suggests dating the mirror to the late 7th Century, based upon a similar example found in the tomb of Dugu Shizhen, at Xian and dated to 698; and for another 'lion and grapevine' bronze mirror, Tang dynasty, see the Royal Academy of Arts International Exhibition of Chinese Art, London, 1935, no.669.唐 鎏銀銅海獸葡萄紋鏡 來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
TÊTE D'AVALOKESHVARA EN GRÈSThaïlande, époque pré-angkorienne, style de Prakhon Chai, Buriram, VIIIe siècleA SANDSTONE HEAD OF AVALOKESHVARAThailand, Pre-Angkor Period, style of Prakhon Chai, Buriram, 8th centuryFinely carved with tall jata circled by a double cord at the base and a diminutive figure of Amitabha at the front and a flower on the top. The prominent eyebrows and well-defined eyelids with cavities for inset pupils over a thin nose and a narrow undulating moustache, separate it from the lip, stand. 20cm (7 7/8in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired from Capital Antiques, Bangkok, 2 March 1966Jean-Pierre Rousset, Paris (1936-2021)This rare representation in stone of Avalokiteshvara, is identified by the Buddha Amitabha placed at the front of the headdress, for complete figure of Avalokiteshvara from Battambang area see Garnier and Nafilyan L'art khmer en situation de reserve, Paris, 1997, no. 89. The treatment of the face and the moustache follow the more common representations in bronze attributed to Prakonchai, notably the example from the Rousset Collection now in the Musée Guimet (MA4985), see Baptise and Zephir L'Art khmer dans les collections du musée Guimet, Paris, 2008, p. 39, no. 8 and another in Chutiwongs Leidy, Buddha of the Future: An Early Maitreya from Thailand, 1994, p.34, fig.14.泰國 前吳哥時期 巴坤猜風格 武里南 八世紀 砂岩觀音首來源：巴黎Robert Rousset（1901-1981）舊藏，於1966年3月2日得自曼谷Capital古董店巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
PAIRE DE CROCHETS DE PALANQUIN EN ALLIAGE DE CUIVRECambodge, style d'Angkor Vat, XIIe siècleA PAIR OF COPPER ALLOY PALANQUIN FINIALSCambodia, Angkor Wat style, 12th centuryThe present example is unusual with the relatively simple stepped cylindrical collar with chased stylised motifs supports a waisted square sectional element with floral and zoomorphic figures over a broad hook with a three-headed naga terminal, stands. 22cm (8 5/8in) high. (4).Footnotes:Provenance:Christie's Paris, 15 December 2010, lot 368Jean-Pierre Rousset, Paris (1936-2021), acquired at the above saleAt the height of the Khmer Empire (802–1437 CE), royalty and aristocracy travelled in handheld carriages, or palanquins. The seat of a palanquin was slung from ropes attached to hooks like this. Hooks were used to support a bronze ring from which hung a seat, like a hammock or swing. A wooden pole would have passed through the hollow collar at the top and was carried on the shoulders of bearers.柬埔寨 吳哥窟風格 十二世紀 銅轎吊鉤一對來源：巴黎佳士得，2010年12月15日，編號368巴黎Jean-Pierre Rousset（1936-2021）舊藏，得自上述拍賣For further information on this lot please visit Bonhams.com
STATUETTE DE VISHNU-VASUDEVA-NARAYAN EN ALLIAGE DE CUIVRECambodge, style d'Angkor Vat, XIIe siècleA COPPER ALLOY FIGURE OF VISHNU-VASUDEVA-NARAYANCambodia, Angkor Wat style, 12th centuryCast in a striding position holding the attributes of Vishnu in four hands and wearing an elaborate sampot, stand. 14cm (5 1/2in) high. (2).Footnotes:Provenance: Robert Rousset, Paris (1901-1981), acquired in the 1950's-1970'sJean-Pierre Rousset, Paris (1936-2021)The third eye on this animated bronze would typically define his association with Shaivite tradition, however the attributes held in the four hands are specific to Vishnu. This conflagration of Shiva and Vishnu in this composition is unique to the Khmer tradition of Hindu deities. The club in his lower left hand is short and restrained vertically in a configuration in use only from the twelfth century. Resembling more of a royal sceptre than a weapon, it remains the insignia of the Power and symbolizes Vishnu's sovereignty over all creatures.Compare with a related example in Phnom Penh Museum M.Giteau, Les Khmers, Paris, 1965, p.192, fig.81.柬埔寨 吳哥窟風格 十二世紀 銅毘濕奴-婆藪天-那羅延立像來源：巴黎Robert Rousset（1901-1981）舊藏，得自二十世紀五十至七十年代巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
FRAGMENT DE BAS-RELIEF EN GRÈS REPRÉSENTANT TROIS APSARASInde, Gujarat, vers XVIIe siècleA SANDSTONE RELIEF PANEL OF THREE APSARASIndia, Gujarat, circa 17th centuryCarved in low relief with three attenuated figures in dancing poses, one blowing a horn, divided by columns, stand. 26.5cm (10 1/2in) x 31cm (12 1/4in). (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021)Compare with a closely related bronze figure of Venugopala attributed to Gujarat that shares the same attenuated form and stylised dhoti see P.Pal, Dancing to the Flute, Sydney, 1997, p.18, no.16c.印度 古吉拉特邦 約十七世紀 砂岩三飛天圖磚來源：巴黎Robert Rousset（1901-1981）舊藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
STATUETTE DE MANJUSHRI EN ALLIAGE DE CUIVRE DORÉNépal, XIVe siècleA RARE GILT COPPER ALLOY FIGURE OF MANJUSHRINepal, 14th centuryHolding his hands in the teaching mudra, he gently looks down and enters a state of meditation, while a slight contrapuntal sway of his head and torso, his sword (now missing) and sutra emerge from two prominent lotus flowers by his shoulders and seated on a double lotus base. 12cm (4 3/4in) high.Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired from The Handicrafts & Handlooms Exports Corporation of India Ltd., New Delhi, 17 August 1965Jean-Pierre Rousset, Paris (1936-2021)Manjushri is one of the most important and popularly invoked bodhisattvas in Mahayana and Vajrayana Buddhism. The Bodhisattva of Perfected Wisdom is represented here in a gem-like gilded image.The sculpting of the figure's powerful yet supple physique and the exquisite detailing of his regalia are hallmarks of Newari master craftsmen from the Kathmandu Valley working for Tibetan patrons. His robust body type and broad forehead conform to classic Nepalese aesthetics, as does the compressed lotus base with plump petals and ornamented lower register embellished with inset flower motifs. His necklace, armbands, and earrings, bedecked with inset stones supported by double beaded bands, complete the sculpture as a testament to the artist's skill.Another example is a 14th century gilt-bronze Maitreya or Manjushri in Drigung Monastery (U.von Schroeder, Buddhist Sculpture in Tibet, Vol.II, Hong Kong, 2001, pp.1032-1033, no.256D-E). Compare with a closely related Manjushri published in U.von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, p.376, no.100C.Manjushri est l'un des bodhisattvas les plus importants et les plus souvent invoqués dans le bouddhisme Mahayana et Vajrayana. Le bodhisattva de la sagesse parfaite est représenté ici dans une image dorée semblable à un joyau.Le travail du corps de la statuette est à la fois puissant et souple, et la précision des détails de ses insignes royaux est la marque de fabrique des maîtres artisans newaris de la vallée de Katmandou travaillant pour des mécènes tibétains. Son corps robuste et son large front sont conformes à l'esthétique népalaise classique, tout comme la base décorée d'un lotus aux pétales charnus et le registre inférieur orné de motifs floraux incrustés. Son collier, ses brassards et ses boucles d'oreilles, ornés de pierres incrustées sur des bandes perlées doubles, complètent la sculpture comme un témoignage de l'habileté de l'artiste.Un autre exemple est un Maitreya ou Manjushri en bronze doré du XIVe siècle au monastère de Drigung (U.von Schroeder, Buddhist Sculpture in Tibet, Vol.II, Hong Kong, 2001, pp.1032-1033, no.256D-E). Comparée avec un Manjushri très proche publié dans U.von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, p.376, no.100C.尼泊爾 十四世紀 鎏金銅文殊菩薩坐像來源：巴黎Robert Rousset（1901-1981）舊藏，於1965年8月17日得自新德里印度手工藝品出口公司巴黎Jean-Pierre Rousset（1936-2021）舊藏文殊菩薩為大乘與金剛乘佛教中最重要及最受崇拜的菩薩之一。此尊寶石般華美的鎏金銅像呈現出菩薩的圓滿智慧形象。 造像外型剛柔並濟，寶冠工藝精湛細緻，為加德滿都谷地的紐瓦里工匠受西藏信衆委託造像的風格特徵。造像體型健壯、前額寬闊、壓縮蓮花座上蓮瓣飽滿，下方綴以嵌寶花卉圖案，均符合尼泊爾古典美學觀念。嵌寶項鍊、臂飾及耳飾佩雙行串珠帶，工匠高超技巧由此可見一斑。 見一例藏於直貢寺的十四 世紀 鎏金銅彌勒佛或文殊菩薩像（U.von Schroeder，《Buddhist Sculpture in Tibet》，卷二，香港，2001年，頁1032-1033，編號256D-E）。比較極近似的一例文殊菩薩像，載於U.von Schroeder，《Indo-Tibetan Bronzes》，香港，1981年，頁376，編號100C。For further information on this lot please visit Bonhams.com
STATUETTE DE LIUHAI EN BRONZE PARTIELLEMENT DORÉDynastie MingA PARCEL-GILT BRONZE FIGURE OF LIUHAI Ming Dynasty (1368-1644)The Daoist Immortal cast in a typical posture standing with one leg raised the left arm raised and the left lowered, the face with a smiling expression below the tonsured hair encircled with a diadem, wearing flowing long-sleeved robes open to reveal the rotund belly, with a leaf skirt around the waist tied with belt suspending a sack with a foliate terminal, the hems finely incised, carrying a double gourd vase at the back which may have been used as joss stick holder, stand. 11.8cm (4 1/2in) high. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) 明 局部鎏金銅劉海像來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
DEUX STATUETTES DE L'IMMORTEL TAOÏSTE LI TIEGUAI EN PORCELAINE DE LA FAMILLE ROSEXVIIIe siècle, et montures européennes postérieures en bronze doréTWO FAMILLE ROSE FIGURES OF THE DAOIST IMMORTAL LI TIEGUAI 18th century, with later European ormolu mountsEach Daoist Immortal modelled standing with the right leg resting and supported on his crutch and right hand holding its terminal, each with the smiling head turned to one side with typical beard and his long flowing head coiled into a chignon, wearing long flowing robes in famille noire ground, one with dragon and clouds decoration and the other with prunus blossom and bamboo, the trousers rendered in pink enamel with the bear feet protruding, one leaning against a green-ground pedestal with clouds and the other standing atop an uneven green-ground, both bases adorned with French ormolu mounts, probably early 19th century. Overall, the largest 27.9cm (11in) high. (2).Footnotes:Provenance:Jean-Pierre Rousset, Paris (1936-2021) 十八世紀 粉彩李鐵柺像 一組兩尊來源：巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
ÉTENDARD EN BRONZE EN FORME DE DEUX FELINESLuristan, VIIIe siècle av. J.-C.A BRONZE 'DOUBLE FELINE' STANDARDLuristan, 8th century BCIn the form of two conjoined felines with open fangs, long arched neck and curling tails, the paws joined to leave an insertion gap in the middle. 15.5cm (6 1/8in) high.Footnotes:Provenance:Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021) 洛雷斯坦 公元前八世紀 青銅雙虎紋飾來源：巴黎Robert Rousset（1901-1981）舊藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
ÉTENDARD EN BRONZE REPRÉSENTANT DEUX IBEXLuristan, vers le VIIIe/VIIe siècle av. J.-C.A BRONZE 'DOUBLE IBEX' ANIMAL STANDARDLuristan, circa 8th-7th Century BCFinely cast in the form of two conjoined ibex defined by sinuous bodies and curved antlers. 9cm (3 1/2in) high.Footnotes:Provenance:Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021) Compare with a similar bronze standard finial with ibex, Luristan, circa 1350-800 BC, in the Los Angeles County Museum (acc.no.M.76.97.52).洛雷斯坦 公元前八/七世紀 青銅雙羊形飾來源：巴黎Robert Rousset（1901-1981）舊藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
DEUX PLAQUES DE MORS EN BRONZE À TERMINAISON EN TÊTE DE TAUREAULuristan, IXe/VIIe siècle av. J.-C.TWO BRONZE CHEEK PIECESLuristan, 9th/7th century BCShaped as waisted geometric designs each terminating in a bull's head. 12.7cm (5in) wide. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021) Compare with a similar horse bit, Luristan, 1000-650 BC, in the Los Angeles County Museum (acc.no.64.12.40).洛雷斯坦 公元前九/七世紀 青銅牛形飾 一組兩件來源：巴黎Robert Rousset（1901-1981）舊藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
ORNEMENT EN BRONZE « TOTEM »Luristan, vers le VIIIe siècle av. J.-C.A BRONZE MASTER OF ANIMALS STANDARDLuristan, circa 8th century BCFinely cast with the central cylindrical hollowed shaft decorated with faces flanked by sinuous and stylised animals. 18cm (7 1/8in) high. Footnotes:Provenance:Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021) Compare with a related standard finial, Luristan, circa 1000-650 BC, in the Los Angeles County Museum (acc.no.M.76.97.92).洛雷斯坦 公元前八世紀 青銅圖騰飾來源：巴黎Robert Rousset（1901-1981）舊藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
ANSE ANNULAIRE EN BRONZE EN FORME DE TÊTE D'IBEXLuristan, vers le VIIIe siècle av. J.-C.A BRONZE 'IBEX' HARNESS RINGLuristan, circa 8th century BCShaped as an ibex head with long horns suspending a hoop. 7.5cm (3in) high.Footnotes:Provenance:Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021) 洛雷斯坦 約公元前八世紀 青銅羚羊紋環形飾來源：巴黎Robert Rousset（1901-1981）舊藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
STATUETTE D'IBEX EN BRONZELuristan, VIIIe siècle av. J.-C.A BRONZE MODEL OF AN IBEXLuristan, 8th century BCCast as small ibex standing four square with long arched horns. 5.5cm (2 1/8in) high.Footnotes:Provenance:Robert Rousset, Paris (1901-1981)Jean-Pierre Rousset, Paris (1936-2021) 洛雷斯坦 公元前8世紀 青銅羚羊飾來源：巴黎Robert Rousset（1901-1981）舊藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
MIROIR EN BRONZE À DÉCOR DE CHIMÈRES ET PETIT MIROIR EN BRONZEDynastie Han (206 avant J-C - 220 ap. J.-C)A BRONZE 'MYTHICAL BEASTS' MIRROR, AND A BRONZE 'BOSSES' MIRRORHan Dynasty (206 BC-220 AD)Comprising a silvered bronze circular mirror, finely cast with striding spirit beasts alternating with four bosses, within narrow geometric pattern and inscribed bands, 14.2cm (5.5/8in) diam.; and a small bronze mirror cast in high relief with a central floral knop encircled by four bosses and scrolling foliate design with further raised decoration, within lobed border, 10.2cm (4in) diam. (2).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) Very similar mirrors to the present lot, Han dynasty, are illustrated by J.Rawson and E.Bunker, Ancient Chinese and Ordos Bronzes, Hong Kong, 1998, p.242, no.161 and p.254, no.173.漢 四神紋銅鏡及乳釘紋銅鏡 一組兩件來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
RARE MIROIR CIRCULAIRE EN BRONZE ARGENTÉ À DÉCOR DE DRAGONSDynastie Tang (618- 906 ap. J.-C)A RARE SILVERED BRONZE CIRCULAR 'DRAGONS' MIRRORTang Dynasty (618-906 AD)With large domed central knop, encircled by a band of stylised dragons, within inscribed and comb pattern bands, the raised outer border with three thin bands of saw-tooth and zig-zag design. 14.2cm (5 5/8in) diam.Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) This mirror is unusual for the fine casting of two large dragons or mythical beasts within the central medallion. Compare with a related silvery bronze circular mirror with two hounds and an inscription, Sui/early Tang dynasty, which was sold at Christie's New York, 22 March 2012, lot 1431.唐 鎏銀銅龍紋鏡來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
MIROIR POLYLOBÉ EN BRONZE ARGENTÉ À DÉCOR DE CAVALIERS ET DE LIONSDynastie Tang (618- 906 ap. J.-C)A SILVERED BRONZE FOLIATE-FORM 'HORSE RIDER AND LION' MIRRORTang Dynasty (618-906 AD)Cast in high relief to the centre with two celestial figures riding galloping sprit beasts, alternating with mountain peaks amongst cloud scrolls, the border cast with two trailing foliate stems within a raised rim. 12.7cm (12in) wide.Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) A similar ocatafoil bronze mirror, Tang dynasty, is illustrated by Ji-hsi Chou, Circles of Reflection: The Carter Collection of Chinese Bronze Mirrors, Cleveland, 2000, p.70, no.62.唐 鎏銀銅騎馬狩獵紋鏡來源：巴黎Robert Rousset（1901-1981）舊藏，於1935年前入藏巴黎Jean-Pierre Rousset（1936-2021）舊藏For further information on this lot please visit Bonhams.com
RARE PLAQUE CARRÉE EN BRONZE À DÉCOR DE BOUDDHA ET BODHISATTVASXIIe-XIVe siècleA RARE BRONZE SQUARE 'BUDDHA AND BODHISATTVAS' DECORATED PLAQUE12th-14th centuryThe surface incised on one side with three large figures, the central Buddha figure flanked by two Bodhisattvas, one holding a lotus bloom extending over the right shoulder, wearing crowns and voluminous flowing robes, tied with sashes and cascading in elaborate folds, each standing upon a lotus petal base, the reverse plain. 17.8cm (7in) x 16cm (6 1/4in).Footnotes:Provenance:Robert Rousset, Paris (1901-1981), acquired prior to 1935Jean-Pierre Rousset, Paris (1936-2021) The present engraved bronze plaque is exceptionally rare in its decoration and function. The finely incised decoration depicts the Three Sages of the Western Pure Land: Amitābha stands between Avalokiteshvara and Mahāsthāma on an array of lotus blossoms. Circular halos encircle each head signifying divinity and glory. The question of the function of this plaque is intriguing and presents two likely possibilities. The first is that the rectangular plaque, decorated on one side and plain on the other, was used as a mirror. Supporting this option are a small number of known engraved mirrors decorated on one side with Buddhist figures, two of which were uncovered from the Yunju Temple, Beijing, dating to the Liao dynasty, and now in the Capital Museum, Beijing; and another example, dated Song dynasty, is in the collection of the in the Hunan Provincial Museum. However, all three examples are circular in form, with an aperture for hanging, whereas the Rousset 'mirror' does not have an aperture. Yet, there might be an explanation for this – the Rousset mirror may have been used as mirror on a pagoda to reflect the sunlight – this possibility is supported by the over a thousand bronze mirrors adorning the Shijiafoshelita Pagoda (the 'White Pagoda'), Liao dynasty, dated 1049, in Inner Mongolia, some of which are incised with Buddhist figures on the reflective side; see Hsueh-Man Shen, Proceedings of the British Academy, 2012, 'Between One and Many: Multiples, Multiplication and the Huayan Metaphysics, 2011, pp. 205–258, pp.229-231, and 254-256. As noted by Hsueh-Man Shen, ibid., pp.254-256, mirrors with incised Buddhist images are literally associated with the Buddhist metaphor 'image [reflected] in a mirror'. The reflection of images in a mirror represents a Buddhist analogy with the transient and is related to the notion of emptiness. In various Buddhist texts, the multitudes were instructed to view the phenomenal world as an image in a mirror and emptiness as the mirror itself. Similarly, while the reflected image in a mirror changes as the object moves, the substance of the mirror remains unchanged. Hence seeing a Buddha image in a mirror is analogous to discerning the Buddha. Therefore, a mirror incised with a Buddha image on the reflective side can be viewed as an embodiment of this idea: the bronze mirror stands for the Buddha's eternal dharmakaya (a body or collection of all of Buddha's qualities), whereas the incised Buddha image on the mirror represents the Buddha's nirmanakaya (physical manifestation), revealing itself only in response to believers. By extension, the mirror refers to the ultimate Buddha nature, while the incised image corresponds to the mind of all creatures. Therefore, incision of Buddhist images on a mirror symbolises the unification of Buddha nature and the nature of all creatures.The second possibility is that the Rousset plaque is not a mirror, but rather a side panel of a Buddhist lidded reliquary box, such as two found in Famen Temple, and illustrated in the Report of Archaeological Excavation at Famen Temple, 法⾨寺考古發掘報告, vol.2, Beijing, 2007, pp.97 and 103.The representation of Three Sages of the Western Pure Land was one of the most popular subjects in paintings of Pure Land, as demonstrated in the frescoes in Dunhuang as illustrated in Aurel Stein's The Thousand Buddhas: Ancient Buddhist Paintings from the Cave-temples of Tunhuang on the Western Frontier of China, London, 1921, pl.10. However, according to He Maoping and Ning Qiang, the 12th century was a turning point in the composition of Three Sages of the Western Pure Land, with the posture changing from sitting to standing. This, in turn, provides a strong indication that the Rousset plaque decorated with the standing figures is not earlier than 12th century; see He Maoping and Ning Qiang, 'From Rebirth to Welcoming: The Reconstruction of the Notion and Image of the Three Sages of the West in the Pure Land Belief of the Western Xia Period', 從往⽣到來 迎：西夏淨⼟信仰對西⽅三聖德觀念與圖像重構, Journal of Dunhuang Studies, 2019, no.3, pp.104-120.Cette plaque en bronze gravée est extrêmement rare par sa décoration et sa fonction. Le décor finement incisé montre les Trois Sages du Paradis de l'Ouest : Amitabha debout entre Avalokiteshvara et Mahāsthāma sur un tapis de fleurs de lotus. Les auréoles circulaires derrière chacune de leur tête manifestent leur divinité et leur gloire.La fonction de cette plaque est intrigante et deux possibilités se présentent. La première est que cette plaque rectangulaire, décorée d'un côté et non de l'autre, était utilisée comme miroir. Cette option est appuyée par un petit nombre de miroirs connus incisés d'un côté de divinités bouddhistes, dont deux découvert au temple Yunju à Pékin et datant de la dynastie Liao, aujourd'hui conservés au Capital Museum de Pékin. Et un autre exemple, daté de la dynastie Song, est dans la collection du Musée de la Province du Hunan. Cependant, ces exemples sont de forme circulaire, avec un orifice pour être suspendu, alors que le « miroir » Rousset n'a pas d'orifice. Mais il pourrait y avoir une explication à cela : le miroir Rousset pourrait avoir été utilisé comme miroir sur une pagode pour réfléchir la lumière du soleil. Cette possibilité est appuyée par plus d'un millier de miroirs en bronze décorant la pagode Shijiashifohelita (la « Pagode Blanche »), de la dynastie des Liao, datée de 1049, en Mongolie Intérieure, dont certains sont incisés de divinités bouddhiques du côté réfléchissant ; voir Hsueh-Man Shen, Proceedings of the British Academy, 2012, « Between One and Many : Multiples, Multiplication and the Huayan Metaphysics », 2011, pp. 205–258, pp.229-231, and 254-256.Comme le note Hsueh-Man Shen, ibid., pp254-25, les miroirs comportant des images bouddhiques incisées sont littéralement associés à la métaphore bouddhique de l'« image (réfléchie) dans un miroir ». La réflexion d'images dans un miroir représente une analogie bouddhique avec le transitoire et est lié à la notion de vide. Dans différents textes bouddhiques, on enseignait au peuple à voir le monde sensible comme une image dans un miroir et le vide comme le miroir lui-même. De la même façon, alors que l'image reflétée dans un miroir change en même temps que l'objet bouge, la substance du miroir reste inchangée. Ainsi voir une image du Bouddha dans un miroir est similaire à discerner le Bouddha. Et donc, un miroir incisé de l'image du Bouddha du côté réfléchissant peut être considéré ... For further information on this lot please visit Bonhams.com
STATUE DE DIVINITÉ FÉMININE EN GRÈS, POSSIBLEMENT DURGACambodge, époque angkorienne, style du Koh Ker, Xe siècleA SANDSTONE FIGURE OF A FEMALE DEITY, POSSIBLY DURGACambodia, Angkor Period, Koh Ker style, 10th centuryThe robust figure stands in samabhanga, elegantly carved with hour-glass form torso, with full breast above delicately incised lines to indicate slight rolls of skin and sumptuous wide hips. She wears a long straight garment (sampot) flaring slightly at the bottom, with a large curling flap and incised vertical lines to indicate the fine pleats, stand. 90cm (35 1/2in) high. (2).Footnotes:Provenance: Robert Rousset, Paris (1901-1981), acquired from Smit Gallery, Bangkok, 19 April 1965Jean-Pierre Rousset, Paris (1936-2021)Published, Illustrated and Exhibited:Sherman Lee, Ancient Cambodian Sculpture, Asia House Gallery, New York, October 1969, p.50, no.12The Koh Ker temple complex, approximately 80km northeast of Angkor, was the capital of the Khmer Empire from 928-944 under the kings Jayavarman IV and Harshavarman II. Koh Ker's sculptural style is distinct from those developed in Angkor's immediate vicinity. The stone sculpture, often monumental in size, is imbued with a heightened sense of movement and a suppleness of form. The broad flap of pleated fabric that hangs over the sash at the waist, a fashion which first appeared in the last quarter of the ninth century, then became the convention in the tenth century during the Koh Ker period and can also be seen on the male figure from Banteay Srei.Given the dominance of the Shaivite cult throughout the Koh Ker temple complex, it is most likely that this four-armed figure would have been Durga – the wrathful female aspect of Shiva. Compare with the complete cast bronze figure of Durga in the Cleveland Museum of Art (1996.27), and another fragmentary figure described as Durga in the Metropolitan Museum of Art, New York (2003.605). Also compare with another female deity in the Linden-Museum, Stuttgart. The hieratic monumentality of this rare female deity is balanced against the soft fleshy skin and flair of the curling flap that Jean Boisselier, in his review of Koh Ker sculptural style (Asie du Sud-Est, 1966, p.248) characterised as 'dynamic equilibrium'.Le complexe de temples de Koh Ker, situé à environ 80 km au nord-est d'Angkor, a été la capitale de l'empire khmer de 928 à 944 sous les rois Jayavarman IV et Harshavarman II. Le style sculptural de Koh Ker est distinct de ceux développés dans le voisinage immédiat d'Angkor. La sculpture en pierre, souvent de taille monumentale, est imprégnée d'un sens aigu du mouvement et d'une souplesse des formes. Le large pan d'étoffe plissée qui pend sur la ceinture à la taille, une mode apparue dans le dernier quart du IXe siècle, puis devenue la convention au Xe siècle pendant la période Koh Ker, est également visible sur la statue masculine de Bantreay Srei. Compte tenu de la prédominance du culte shivaïte dans l'ensemble du complexe de temples de Koh Ker, il est fort probable que cette statue à quatre bras soit Durga, l'aspect féminin courroucé de Shiva. Comparée avec la fonte complète de Durga en bronze du Musée d'art de Cleveland (1996.27), et avec une autre statue fragmentaire décrite comme étant Durga au Metropolitan Museum of Art, New York (2003.605). Comparée également avec une autre divinité féminine au Musée Linden, Stuttgart.La monumentalité hiératique de cette rare divinité féminine est contrebalancée par la douceur de la peau charnue et l'élasticité du rabat enroulé que Jean Boisselier, dans son analyse du style sculptural de Koh Ker (Asie du Sud-Est, 1966, p.248), qualifie d'« équilibre dynamique ».柬埔寨 吳哥時期 科克風格 十世紀 砂岩或杜爾加立像來源：巴黎Robert Rousset（1901-1981）舊藏，於1965年4月19日得自曼谷Smit藝廊巴黎Jean-Pierre Rousset（1936-2021）舊藏展覽著錄：Sherman Lee, 《Ancient Cambodian Sculpture》，Asia House畫廊，紐約，1969年10月，頁50，編號12科克寺廟建築群位於吳哥東北約八十公里，928至944年間為闍耶跋摩四世與哈沙跋摩二世統治下高棉帝國之首府。科克雕塑風格與吳哥鄰近地區截然不同，常見砂岩雕像尺寸較大，造型靈活並充滿強烈動感。褶襉圍裙寛闊的上擺向外翻出垂在腰間，此服飾最早出現於九世紀下半葉，至十世紀科克時期已成慣例，於女王宮內神像上亦可見。 鑑於崇拜濕婆之風主導科克寺廟群，故此四臂像應為杜爾迦—濕婆女神憤怒相。比較一例完整的杜爾加銅像，藏於克利夫蘭藝術博物館（1996.27）、另見一例杜爾加像殘件，藏於紐約大都會藝術博物館 （2003.605）。再比較一例女神像，藏於斯圖加特林登博物館。 此尊罕見女神像極具宗教藝術的神聖宏偉，與其柔順飽滿的肌膚及摺裙的捲邊上擺互起平衡作用，Jean Boisselier在《Asie du Sud-Est》，1966年，頁248的科克寺雕塑風格評論中稱之為「動態平衡」。For further information on this lot please visit Bonhams.com
Lord Of The Rings - An original production used prop Bronze Cloak Pin from the trilogy. Screen used ( 1 of 150 ) is known as The Riders Of Rohan / Rohirrim cloak pin. The cloak pin is gold plated in a circular formation. These were worn by Rohan soldiers. Was used in the film Trilogy. Designed by Master Armourer Warren Green. Supplied with a certificate from Warren Green.
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