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C. 386-534 AD. Northern Wei Dynasty. A painted brick featuring a reclining Buddha figure placed within a rectangular recess. Buddha, who supports his head with one arm, while the other is placed on his side, wears a red robe with green details; his neat hair is picked out in black, his eyes are closed and his lips are accented in red. The reclining Buddha scene is important within ancient Buddhism, as it symbolises his final illness before passing into Nirvana (ultimate spiritual enlightenment). After his death, Buddha's followers built a statue of him in the same reclined position; this brick may depict either Buddha himself or the statue. The Northern Wei dynasty ruled northern China from c. 386 to 534 AD, and its most famous achievement was unifying a large empire following a long period social and political turbulence. However, craftsmen working under this dynasty were also responsible for beautiful works of art, many of which relate to Buddhist religion, as this object exemplifies. Provenance: From the private collection of D. Ruskin, Oxfordshire; formerly in a British collection formed in the 1990s on the UK / International art markets. Size: L:340mm / W:170mm ; 5.4kg

A Tibetan Buddhism brass Ganesha Lord God Elephant Buddha statue standing 8 1/2" tall.

STATUE, Sri Lanka, stehender Buddha auf Scheibenstand, Bronze, grünlich patiniert, künstliche Alterspatina, H 23,5 cm

GROßE STATUE/ GRUPPE, Indien, Bronze, vergoldet, gesteckt, Buddha unter Bodhi-Baum (Baum der Weisheit), mehrfach getreppter, ausgestellter Trapezsockel, dort umlaufend durchbrochen gearbeitete Feuillettenbordüre, in der Front Kesa, Lotussockel, dort die Darstellung der Drei Zeitalter des Buddhas, bekrönt vom Bodhi-Baum, 43,5 x 35,5 x 26 cm

The Laughing Buddha statue

A kneeling Buddha composite statue with white paint detailing and holding a bowl with a felt top. W:21cm x D:27.5cm x H:46.5cm

STEVE McCURRY 'A Man Rides past a Buddha Statue in a Park in Mandalay, Burma', lithograph, edition of 50, signed, 50cm x 30cm, framed.

Ca. 1800-1900 AD. Superb Tibetan gilt Bronze Statue of the 12th Yaksha General of the Medicine Buddha Mandala. In Tibetan he is called "rdzogs byed" , his color is red, and he has a wheel (here diminutive in the form of a cabochon between the jeweled necklace on his belly). He holds a mongoose in the left hand that spits jewels. Represented with short fat limbs and a large stomach. In the right hand, he holds a wish-fulfilling jewel. Dzogje as this one is called is the 12th general and is protecting the Southern direction of the Mandala. For the meditation of the Medicine Buddha, the main deity is represented in the middle of the mandala. Around him are numerous deities, that ultimately number to fifty-one figures. They can be painted on cards or on a scroll painting called a Thank but sometimes three-dimensional mandalas were made for temples and this is one of those figures. Many times, a figure such as this one is misinterpreted as being the deity Jambhala or even more as the very elusive and almost never or very rarely represented Kubera in Tibetan art. Size: L:150mm / W:120mm; 925g; Provenance: Property of a London collector acquired in the early 1990s.

CHINESE BRONZE JEWELLED STATUE OF BUDDHA. This fantastic example of bronze Buddha (or Boddhisattva) is depicted sitting on a throne wearing a a large crown, the figure is elaborately enameled with brightly coloured raisin. Size: L:325mm / W:230mm ; 3.9kg Provenance: From United Kingdom / European estate collections and antique fairs; acquired between 1970 and 2010.

A MONUMENTAL SANCAI-GLAZED FIGURE OF BUDDHA SHAKYAMUNI, MING DYNASTYChina, Henan province or Shanxi province, 1368-1644 (ca. 1500-1600). Seated in dhyanasana on a matching, separately fired double-lotus base with beaded edge. His left hand is raised in front of the chest and his right lowered on his lap, wearing a loose-fitting monastic robe opening at the chest. The serene face with downcast eyes and full lips forming a benevolent smile, flanked by long pendulous earlobes, the hair in tight curls surmounted by a domed ushnisha.Provenance: From a Swedish private estate.Condition: Excellent condition with old wear and firing flaws, including a glaze recess to one hand. A major firing crack to the base was sealed at the time of production, with associated superficial recesses that look similar to firing cracks but are in fact glaze recesses. Minor chips and losses along the edge of the base, intentional glaze crackling, extensive weathering to glaze areas resulting in some sections being slightly dull. Note that for a sancai statue of this size and age, the present condition must be considered as superb.Weight: 44 kg Dimensions: Height 83.5 cm (measured including the matching lotus base, the Buddha alone measuring already 67 cm height)Both Buddhist and Daoist sancai-glazed stoneware figures were popularly commissioned during the Ming dynasty. They were likely inspired by the famous Yixian glazed pottery luohans, discovered before World War I in caves at Yizhou and described as one of the most important groups of ceramic sculpture in the world.No other sancai-glazed figures of Buddha, with such fine modeling, in equally well-preserved condition, and of this date and size, appear to have been published in private collections.A sancai-glazed seated figure of Buddha is illustrated by Rene-Yvon Lefevre d'Argence, Chinese, Korean and Japanese Sculpture from the Avery Brundage Collection, Kondasha, Tokyo, 1974, fig. 170. In the catalog description, the author writes, “The figure belongs to a large series, many of which have reportedly come from Shansi, and is very close to a Buddha now in the Musee Guimet. The Avery Brundage Collection example seems to continue the style of a pottery Buddha, dated 1494, in the Metropolitan Museum of Art.” The dated figure in the Metropolitan Museum is illustrated by W. Cox, The Book of Pottery and Porcelain, Vol. 1, New York, 1947, pl. 151.Literature comparison: Compare with a closely related sancai Buddha from the Avery Brundage collection, now in the Asian Art Museum, San Francisco, object number B60P139. Compare with a sancai-glazed sculpture of a luohan, dated to the Liao dynasty, in the Metropolitan Museum of Art, accession number 21.76. Compare also with a polychrome figure which may represent the Daoist deity Yuan Shi Tian Zun (The Primal Celestial Excellency) of the San Qing (Three Pure Ones) in the British Museum, museum number 1930,0719.62. Further Daoist examples include a figure of the Heavenly Marshal Zhao, dated 1482 in the Metropolitan Museum of Art, New York and another related seated figure of the Daoist God of Literature, Wenchang Wang in the Royal Ontario Museum is illustrated in Henry Trubner, Royal Ontario Museum, The Far Eastern Collection, Toronto, 1968, p. 72, no. 90.Auction result comparison: Compare with a related sancai figure of a Daoist deity of larger size (111.8 cm high) at Sotheby’s New York in Fine Chinese Ceramics & Works of Art on 17-18 September 2013, lot 49, sold for USD 149,000. Compare also with a related but slightly larger (89.8 cm high) sancai-glazed figure of Guanyin at Christie’s Hong Kong in Important Chinese Ceramics and Works of Art on 1 June 2011, lot 3767, sold for HKD 4,580,000.明代三彩釋迦牟尼坐蓮像中國，河南省或山西省，1368-1644 (約 1500-1600)年。釋迦牟尼結跏趺坐坐在匹配但分開燒製的寶珠紋雙層蓮座上。他的左手在胸前舉起，右手擱在膝上，身著寬鬆敞胸袈裟。寧靜的臉龐，雙眼微垂，嘴唇豐滿，露出仁慈的笑容。臉部兩側是長長的耳垂，頭頂頭髮捲曲，有螺髻。 來源：瑞典私人遺產 品相：狀況極佳，有舊磨損和燒製瑕疵，包括一隻手上有釉面凹陷。底座一條燒製裂紋已在製作時經過修補，相關的表面凹陷，看起來類似燒裂，但實際上是釉面凹陷。底座邊緣有細小碎屑和缺損，釉面開裂，釉面區域有廣泛風化導致某些斷面有些暗沉。請注意，像這樣的尺寸和年代的三彩造像，當前狀況算是保存相當好的。 重量：44公斤 尺寸：高 83.5 厘米 (含蓮座，佛像高67 厘米) 在明代，佛教和道教的三彩釉陶器都極受推崇，可能是受到著名的易縣三彩羅漢的啟發，它們是在一戰前在易州發現的，是世界上最重要的陶瓷造像群之一。 在私人收藏中的同期且相近尺寸的三彩造像沒有任何一座保存如此完整。 一件三彩坐佛見 Rene-Yvon Lefevre d'Argence所著的Chinese, Korean and Japanese Sculpture from the Avery Brundage Collection, 東京講談社 1974年出版，圖 170。在畫冊中，作者寫道 “The figure belongs to a large series, many of which have reportedly come from Shansi, and is very close to a Buddha now in the Musee Guimet. The Avery Brundage Collection example seems to continue the style of a pottery Buddha, dated 1494, in the Metropolitan Museum of Art.”（該造像屬於一個造像系列，其中很多據報導自山西省，與現在吉美美術館中的佛像非常接近。Avery Brundage 收藏的例子似乎延續了大都會博物館中一座1494年的陶佛的風格。）大都會博物館中的陶佛可見W. Cox, 畫冊The Book of Pottery and Porcelain, 第一冊，紐約1947年, 圖151。 文獻比較：一件來自Avery Brundage collection相近三彩佛像，現存於舊金山亞洲藝術博物館，編號 B60P139；一件遼代三彩羅漢，大都會博物館，編號 21.76. ；一件粉彩元始天尊見大英博物館，編號1930,0719.62. 其他道教造像如1482年的趙公明像見紐約大都會博物館管，多倫多皇家安大略博物館的文曲星造像可見Henry Trubner所著的Royal Ontario Museum, The Far Eastern Collection, 多倫多1968年, 72頁, 90號。 拍賣結果比較：一件三彩道教人物造像 (高111.8 厘米) 見紐約蘇富比 Fine Chinese Ceramics & Works of Art 拍場2013年9月 17-18日 lot 49, 售價 USD 149,000. 一件相近但更大 (高89.8厘米)的三彩觀音像見香港佳士得Important Chinese Ceramics and Works of Art 拍場2011年6月1日 lot 3767, 售價 HKD 4,580,000.

AN ORIGINALLY SEALED GILT COPPER ALLOY FIGURE OF AVALOKITESHVARA SHADAKSHARI, 15TH-16TH CENTURYTibet. Cast seated in dhyanasana on a sealed double lotus base, the principal hands in anjalimudra in front of the chest, the other right hand in vitarkamudra and the other left hand holding a lotus blossom, wearing a luxurious dhoti neatly incised with floral patterns, and richly adorned in beaded jewelry inlaid with turquoises.Provenance: Galerie Peter Hardt, Radevormwald, Germany, 1 December 1994. A Hungarian private collection, acquired from the above. A copy of the original certificate for this piece from Galerie Peter Haardt, stating the origin as Tibet, but erroneously dating the piece to the 17th century, accompanies this lot.Condition: Very good condition with minor wear and casting irregularities, minuscule nicks here and there, occasional light scratches, traces of pigment, minor wear to gilt, some losses to inlays. Original sealing!Weight: 553.7 gDimensions: Height 16.1 cmThe face shows a serene expression below the urna with heavy-lidded eyes under gently arched eyebrows, and slender lips forming a subtle smile, flanked by long earlobes with lotus-form earrings. The hair is surmounted by an ushnisha with a finial in the form of the head of Buddha Amithaba, all behind an elaborate crown.Shadakshari Lokeshvara is the embodiment of the mystic Buddhist mantra, Ohm Mani Padme Hum. The six syllables are the seeds of the six realms in the great cosmic wheel. Om stands for the god realm, Ma for the demigod or asura realm, Ni for the human realm, Pad for the animal realms, Me for the hungry ghost realm, and Hum stands for the hell realm. Shadakshari Lokeshvara helps to bring all beings from the six realms into enlightenment. The present bronze therefore is a cheerful reminder of the spiritual quest for nirvana.The statue has extensively been screened with x-ray, revealing various contents, at least one being a consecrated miniature statue, probably made of gold. Several videos shot during the x-ray screening will be handed over to the winning bidder.Literature comparison: For an interesting article about Tibetan-Chinese gilt sculptures of the early Ming dynasty in the Museum Rietberg, particularly about CT (X-ray Computed Tomography) scans of the interior of such sculptures and their contents, see Christian Boehm, Arts of Asia, September-October 2019, pages 84-97 (CT scans on page 91).Auction result comparison: Compare with a related copper alloy figure, but without any contents, at Bonhams New York in Indian, Himalayan & Southeast Asian Art on 14 March 2016, lot 44, sold for USD 27,500.十五至十六世紀銅鎏金四臂觀音坐蓮像 西藏。觀音金剛坐姿坐於雙層蓮座上，前兩臂合掌當胸並持如意寶珠，後兩臂高舉至肩，左手持一白蓮。身著綢緞及纓絡，鑲嵌綠松石。 來源：德國Radevormwald 的Peter Hardt 藝廊。一個匈牙利私人收藏家于1994年12月1 日購買。一份藝廊出具的原始證書注明此造像來自西藏，但是證書上把時間錯誤寫成十七世紀。隨附證書原件。 品相：狀況極佳，有輕微磨損和鑄件不規則現象，到處都有微小的刻痕，偶爾有輕微的划痕，輕微的鎏金磨損，鑲嵌物有所損失。 原始密封！重量：553.7 克 尺寸：高 16.1 厘米 觀音低目慈視莊嚴，嘴角微露笑容，頭戴五葉寶冠，頭頂束高髮髻，餘發垂肩，頭頂上的五方佛冠代表五方的智慧。觀自在菩薩六字大明王陀羅尼，知名佛教普傳密咒漢語中又被寫作嗡，嘛，呢，唄，咩，吽，是觀世音菩薩的微妙本心，也被認為是四臂白觀音的心咒。六個音節是宇宙飛輪中六個領域的種子。 嗡代表天道，嘛代表阿修羅道，呢代表人間道，唄代表旁生道，咩代表餓鬼道，吽代表地獄道。 四臂觀音幫助將六個領域的眾生得到圓滿功德。觀音的慈悲與智慧能化現為不同形象，其中四臂觀音是常見且具代表性的種類之一，其心咒可助眾生脫離六道輪回的痛苦，培養幸福安樂。對該造像進行了X射線檢查，發現了造像内部還有其他內容，其中一個是奉獻的微型造像，可能是金制的。X射線檢查過程中拍攝的幾段視頻將在拍賣后交給中標人。文獻比較：一篇很有意思的關於一件Museum Rietberg裏明初漢藏銅鎏金造像通過X光照射檢查内部的文章可參考Christian Boehm, Arts of Asia, September-October 2019, pages 84-97 (CT scans on page 91). 拍賣結果比較：一個相似銅鎏金但沒有任何填充物的雕像，售于紐約邦瀚斯Indian, Himalayan & Southeast Asian Art 拍場，2016年3月14日，lot 44, 售價USD 27,500.

A LARGE AND MASSIVE WOOD STATUE OF GUANYIN, MING DYNASTYChina, 1368-1644. Seated in rajalalitasana on a naturalistically carved base in the form of craggy rockwork. Adorned in beaded jewelry, wearing a long flowing robe draped over the left shoulder, the serene face with an urna and heavy-lidded eyes below elegantly arched brows, flanked by long earlobes. The hair surmounted by a high crown centered by a small Amitabha Buddha.Provenance: A French private collection in Saigon, acquired circa in 1920. Thence by descent in the same family.Condition: Overall strong weathering and subsequent erosion to the wood, leading to extensive losses, including one hand. Small areas of old fillings. Age cracks. Remnants of polychrome pigment and lacquer gilding.Dimensions: Height 88 cmAuction result comparison: Compare with a related but smaller and earlier wood figure of Guanyin, dated Song to Jin dynasty, at Christie’s New York in Fine Chinese Ceramics & Works of Art on 17-18 March 2016, lot 1506, sold for USD 87,500.明代大型木雕自在觀音像 中國，1368-1644年。觀音以游戲坐姿坐在雕刻的岩石上。纓絡裝飾，穿著的長袍綫條流暢，披在左肩上，表情寧靜安詳，在拱形眉毛下方雙眼微垂，兩側是長耳垂。 頭髮上有一個寳冠，中間是小阿彌陀佛。 來源：西貢的一個法國私人收藏，大約於1920年購得，自此在同一家族世代相傳。 品相：整體風化和隨後對木材的侵蝕較大，導致大量缺失，包括一隻手。 小面積的顔料修補。 年代裂縫。 殘存的多色顏料和金漆。 尺寸：高88 厘米 拍賣結果比較：一件近似但尺寸較小、年代略早的木雕觀音像，斷代為宋至金，售于紐約佳士得 Fine Chinese Ceramics & Works of Art 拍場2016年3月17-18日，lot 1506, 售價USD 87,500.

A RARE GILT-COPPER FIGURE OF PADMAPANI, NEPAL, LICCHAVI OR TRANSITIONAL PERIODNepal, 9th-12th century. Seated in royal ease on a tall rectangular throne supported by two elaborate Buddhist lions on a lotus base, all on an unsealed rectangular plinth, richly adorned in beaded jewelry, holding a lotus stem in the right hand with the blossom leaning towards the shoulder.Provenance: From a North American private collection. A Hungarian Collector, acquired from the above.Condition: Fine condition with areas of abrasion to the surface, some casting irregularities, smaller nicks and dents here and there, light scratches, extensive wear to the gilding, which was already partially renewed at some point in time. One larger loss to front of plinth. Verdigris inside the base.Weight: 1,456 gDimensions: Height 17.8 cmThe face showing a serene expression with almond-shaped eyes under gently arched eyebrows, a broad nose, and slender lips, flanked by curved earlobes with floral earrings, the hair arranged in a high crescent-shaped coiffure behind the diadem with flowers and centered by a small figure of the Buddha Amithaba.This fine image of the Avalokitesvara-Padmapani epitomizes the sensitivity of modeling and graceful beauty of Licchavi and Transitional period sculpture. Originating in Northern Bihar, the Licchavi aesthetic was deeply rooted in North Indian artistic traditions. Characterized by soft rounded modeling and languid forms, the Sarnath style of sculpture from the Gupta period had an immense influence on Nepalese art.Literature comparison: Compare with a related but larger depiction of Padmapani at the Metropolitan Museum, New York, accession number 1981.59.Auction result comparison: Compare with a related statue of Buddha at Christies Paris in Art d’Asie, 12 December 2019, lot 229, sold for EUR 43,750.尼泊爾利察維王朝或過渡時期罕見銅鎏金蓮華手菩薩尼泊爾，九至十二世紀。菩薩以休閑姿坐於蓮花座上，蓮花坐下承兩隻佛獅。長方形底座未密封，上面飾有珠鏈，右手握著一個蓮花莖，花朵向肩膀傾斜。來源：北美私人收藏。一位匈牙利藏家購於上述收藏。 品相：狀況良好，表面有磨損區域，一些鑄件不規則，到處有小刻痕和凹痕，輕微划痕，鎏金大面積磨損，已局部經過恢復。 底座前面有更大的缺損。 底座內有銅綠。重量：1,456 克 尺寸：高17.8 厘米菩薩面部表情柔和，柔和的弓形眉毛下杏仁狀的眼睛，寬鼻，細長的嘴唇，彎曲的耳垂，配以花卉耳環，頭髮在寳冠后狀排列成高月牙形，中央為阿彌陀佛像。這張蓮華手觀音菩薩精美造像體現了利察維和過渡時期雕塑的優美。 利察維美學起源於比哈爾北部，其根源于北印度的藝術傳統。 古普塔時期的鹿野苑風格雕塑以柔和圓形造型和悠閑的形式為特徵，對尼泊爾藝術產生了巨大影響。文獻比較：一件相近但更大的蓮華手觀音可見於紐約大都會博物館，編號1981.59。 拍賣結果比較：一件相近佛陀像售于巴黎佳士得Art d’Asie拍場, 2019年12月12日，lot 229, 售價EUR 43,750。

AN EXCEPTIONALLY RARE ‘DIAMOND REALM’ BUDDHA VAIROCANA BRONZE, MING DYNASTYChina, 15th century. Cast seated in dhyanasana on an unsealed double-lotus base with the hands in dharmachakra mudra holding a Diamond Realm Mandala, a symbol for the metaphysical space inhabited by the Five Tathagatas. The Diamond Realm Mandala is based on an esoteric Buddhist sutra called the Vajrasekhara Sutra.Provenance: Hungarian private collection.Condition: Very good condition with minor wear and casting flaws, occasional light scratches, few minuscule nicks.Weight: 2,363 gDimensions: Height 25.6 cmThe hair in tight, pointed knots around an ushnisha and framing the face in a broad, bowed outline, the pendulous earlobes pierced through, the brows arching down to meet the bridge of the nose between downcast, half-closed eyes and above small, full lips. The robes draped in cascading folds over the body, terminating in neat pleats about the legs, the hems neatly incised with floral scrolls. The figure entirely covered in a dark, near-black patina and with traces of gilding remaining.The statue is inscribed to the back, ‘Da Xia Biao’.Apart from being the tutelary deity of the Diamond Realm (Vajradhatu) in Tantric Buddhism, Vairocana is also the Lord of the Avatamsaka World and an important deity of both exoteric and esoteric Buddhism, noted for his richly varied forms and different gestures.Auction result comparison: Compare with a very similar but larger dry lacquer figure of Vairocana at Sotheby’s New York in Important Chinese Art on 21 March 2018, lot 571, sold for USD 110,000.明代罕見金剛界大日如來銅像 中國，十五世紀。大日如來結金剛坐，雙層蓮座未密封，雙手結説法印握金剛界曼陀羅，是形而上空間的五方佛的象徵。 來源：匈牙利私人收藏 品相：狀況極佳，有輕微磨損和鑄造瑕疵，偶有輕微划痕。重量：2,363 克 尺寸：高25.6 厘米銅像背面刻有 ‘大夏彪’字樣。拍賣結果比較：一件非常相似但尺寸較大的如來銅像，售于紐約蘇富比Important Chinese Art 拍場2018年3月21日，lot 571, 售價USD 110,000。

AN EXCEPTIONALLY LARGE AND MASSIVE CAST-BRONZE AND COPPER-REPOUSSE STATUE OF BUDAI, QING DYNASTYChina, 1644-1912. The gilt-lacquered laughing Buddha is seated in rajalalitasana on his sack, which is hidden under his long flowing robe, atop a double lotus base, his left hand resting on his knee with the palm facing upwards, his right resting on the other knee, wearing a loose-fitting monastic robe hanging off the shoulders and opening at the chest.Provenance: Italian private estate. Austrian private collector, acquired from the above.Condition: Extensive wear, some losses, dents, nicks, and casting flaws. The statue has suffered significant structural damage, mostly to the copper-repousse base, which has literally been torn to pieces, resulting in modern repair work to most of the joints, only visible from the inside. Because of these repairs, the lacquer coating has also suffered in areas, but also due to extensive weathering, leading to the application of several layers of lacquer and gilt over the decades and possibly even centuries. A public temple statue such as the present lot, and particularly one depicting the extremely popular Budai, will inevitably be exposed to extensive touching. As a result, the lacquer gilding of an authentic piece will have been renewed many, many times. The present statue was at least once removed by force from its original location, causing the present structural damages, and soldered back together much later, when it entered the trade some time ago.Weight: ca. 31 kgDimensions: Height 79.5 cmThe cheerful face with gently arched eyebrows above heavy-lidded eyes with incised pupils, centered by an urna, a broad nose, and a wide-open mouth as the Happy Buddha lets out a joyous laugh, flanked by elongated pendulous earlobes.Budai is a popular figure in Qing art, representative of contentment and abundance. He is usually portrayed as laughing, hence the title ‘Laughing Buddha’. The current figure of Budai is an exceptionally large example and must therefore be considered extremely rare.The base and parts of the body are made from solid copper-alloy and worked in fine repousse, while the upper sections are made from cast bronze.Auction result comparison: A related but smaller gilt bronze Budai dated to the Ming dynasty was sold in these rooms in Fine Chinese Art, Buddhism and Hinduism on 27 September 2019, lot 50, sold for EUR 74,820.清代布袋和尚銅像中國，1644-1912年。鎏金漆銅笑佛呈休閑坐坐在麻袋上，而麻袋則藏在長袍下，雙層蓮花座。左手放在膝蓋上，手掌朝上，右手放在另一邊的膝蓋上，穿著一件寬鬆的袈裟，披在肩膀上，敞胸露腹。來源：意大利私人遺產。奧地利私人收藏，購於上述遺產。 品相：大量磨損，一些損失，凹痕，缺口和鑄造缺陷。該雕像曾受過重大的結構性損壞，主要是銅錘揲的底座，實際上已成碎片，因此有大量的現代維修，這些部分只能從內部看到，也因此漆層在某些地區受到破壞。因爲廣汎的風化，所以過去的幾十年甚至幾百年進行過多次上漆和鎏金。像現在這樣的公共寺廟雕像，尤其是深受歡迎的布袋和尚，就不可避免地會受到觸摸。原始漆層和鎏金被更新很多次。這座雕像至少一次被用力從其原始位置移開，造成了目前的結構性損壞，並在不久前因爲銷售又被重新焊接在一起。 重量：約31 公斤 尺寸：高79.5 厘米 底座和像身部份由銅合金製成，並使用精美錘揲工藝，而上部則是銅鑄而成。 拍賣結果比較：一件相近但更小的明代鎏金銅布袋曾在本拍賣行Fine Chinese Art, Buddhism and Hinduism拍場2019年9月27日 lot 50, 售價EUR 74,820.

A LARGE GRAY SCHIST HAND OF BUDDHA, GANDHARAAncient region of Gandhara, Kushan period, c. 2nd-5th century. The fragment finely carved as the right hand of Buddha, likely once forming the abhayamudra. The large size of the hand indicates that it belonged to a monumental statue of around two meters in height.Provenance: Finch & Co Antiques & Works of Art, London, 17 May 2010. The late Richard Nathanson, acquired from the above. Richard Nathanson began his career as a porter at Sotheby's in 1966 and subsequently joined the Impressionist department. He left in 1970 to set up as an independent art advisor and had a particular involvement with Sisley, Modigliani, Rouault, Renoir and Bonnard. He produced BBC documentaries and publications on several of these artists. A copy of the invoice, with a short description of the piece and dating it the 2nd-5th century AD, accompanies this lot.Condition: Good condition commensurate with age, with extensive wear and losses.Weight: 2,697 gDimensions: Length 25.5 cm, Width 15 cm, Depth 8 cmExpert’s note: Behrendt has argued that, in line with an increasing magnitude in Kushan architecture, monumental Gandharan sculptures more likely date more toward the latter part of the Kushan era in the 4th/5th centuries (Behrendt, The Art of Gandhara, New York, 2007, p.72). However, the naturalism and exceptional quality of the carving suggest an earlier dating.Auction result comparison: Compare with a related schist hand of Buddha, of slightly larger size, at Bonhams New York in Indian, Himalayan & Southeast Asian Art on 19 March 2018, lot 3079, sold for USD 28,750.健陀羅大型石灰岩佛手健陀羅，貴霜帝國，二至五世紀。佛陀的右手，很可能曾經是施無畏印。手掌很大，按比例它可能屬於大約兩米高的造像。 來源：倫敦Finch & Co Antiques & Works of Art藝廊，2010年5月17日。 已故的Richard Nathanson購於上述藝廊。 Richard Nathanson從1966年開始在蘇富比擔任搬運工，隨後加入印象派部門。 他於1970年離開公司，成立了獨立藝術顧問，並與Sisley、Modigliani、Rouault、Renoir和Bonnard有著特殊的關係。 他為其中幾位藝術家製作了BBC紀錄片和出版物。 隨貨附有發票副本，簡短說明斷代為公元2-5世紀。 圖片：Richard Nathanson (左) 與他的女兒Susannah。 品相：狀況與年齡相符，大量磨損和缺損。 重量： 2,697 克 尺寸：長25.5 厘米, 寬15 厘米, 深 8 厘米專家注釋：Behrendt認為，隨著貴霜建築規模的不斷擴大，具有紀念意義的健陀羅造像可追溯到4至5世紀的貴霜帝國後期（Behrendt，《 健陀羅藝術》，紐約，2007年，第 72頁）。 但是，此造像自然造型和出眾的品質暗示了它可能來自更早的時期。 拍賣結果比較：相近的一隻佛手，尺寸稍大，見紐約邦翰斯Indian, Himalayan & Southeast Asian Art 拍場2018年3月 19日 lot 3079, 售價USD 28,750.

A HIGHLY IMPORTANT AND LARGE SCHIST STATUE OF HARITI, GANDHARA, 2ND-3RD CENTURYDepicted seated in European fashion with each foot on a small lotus pedestal, one hand holding a child on her lap motioning towards her breast, the other hand holding a bunch of grapes, richly adorned in beaded jewelry, wearing a loose robe with voluminous folds, the face with a softly smiling expression and almond shaped eyes, her hair arranged into an elaborate chignon with a scaled headdress, a second child standing by her side.Provenance: Arthur Huc (1854-1932). Marcel Huc, inherited from the above. Thence by descent within the same family. Arthur Huc was the chief editor of La Depêche du Midi, at the time the leading newspaper in Toulouse, France. He was also an accomplished art critic and early patron of several artists, including Henri de Toulouse- Lautrec. At the same time, Arthur Huc was a keen collector of Asian art, a passion that he inherited from his legendary ancestor Evariste Regis Huc, also known as the Abbe Huc (1813-1860), a French Catholic priest and traveler who became famous for his accounts of Qing-era China, Mongolia and especially the then-almost-unknown Tibet in his book “Remembrances of a Journey in Tartary, Tibet, and China”.Inventory List: In 1954, L. Magniette, bailiff of the court in Toulouse (Huissier), was ordered to compile a complete inventory of the collection inherited by Marcel Huc from his father, Arthur Huc, the so-called “Inventaire Huc”. The present lot is listed in this inventory as follows: “Un Gandhara en schiste – dit: Hariti – Haut: 95,5 cm.” (A schist Gandhara – called: Hariti – Height: 95.5 cm). A copy of the inventory list and cover page are accompanying this lot.Condition: Extensive weathering and wear. Few structural cracks with associated old repairs. Some breaks, losses, nicks, dents and erosions. Remnants of old varnish coating above remnants natural soiling from excavation.French Export License: Certificat d’exportation pour un bien culturel Nr. 185430 dated 3 July 2017 has been granted and is accompanying this lot.Weight: 90 kg (total)Dimensions: Height 95.5 cm (excl. base)With an associated wood base. (2)Hariti was the principal female Buddhist deity of ancient Gandhara with widespread popularity throughout Central Asia and China for at least the first three quarters of the first millennium CE. When the Chinese pilgrim, Yi Jing, visited Gandhara in 671, he saw sculptures of Hariti commonly installed near the dining halls of Buddhist monasteries (see Takakusu (trans.), Record of the Buddhist Religion as Practiced in India and the Malay Archipelago, Oxford, 1896). Yet only about a half dozen large sculptures of Hariti have survived to this day. Among these, the present sculpture is one of the best carved examples in private hands.The story of Hariti’s conversion to Buddhism survives in many ancient Indian and Chinese sources. Despite being a mother to 10,000 children, the ogress Hariti routinely terrorized the Northern Indian city of Rajagrha, devouring its children. After failing to appease, Rajagrha's inhabitants beseeched the Buddha to pacify her. Underneath his alms bowl, Buddha hides Hariti's most beloved child from her. This sends Hariti into a frenzy, searching for her missing son. When Buddha finally returns her child, he prompts Hariti to consider the pain she has caused other mothers. Struck by empathy, Hariti converts to Buddhism and, in exchange for food offerings, promises to protect its monastic communities and Rajagrha's children.Auction result comparison: Compare with a closely related schist Hariti at Bonhams London in Islamic and Indian Art including Modern and Contemporary South Asian Art on 22 October 2019, lot 144, sold for GBP 187,562.二至三世紀健陀羅重要大型片岩鬼子母像鬼子母神以歐洲風格坐在蓮座上，一隻手抱著個孩子擱在膝蓋上似乎正往胸前送，另一隻手拿著一串葡萄。她佩戴著精美珠寶，穿著寬鬆的長跑，綫條流暢，表情溫柔，杏仁狀眼睛，高髻。一側站著另一個孩子。來源：Arthur Huc (1854-1932)收藏。 Marcel Huc繼承，自此保存在同一家族至今。 Arthur Huc是La Depêchedu Midi的主編，這是當時法國圖盧茲的主要報紙。他還是一位出色的藝術評論家，也是包括Henri de Toulouse- Lautrec在內的幾位藝術家的早期贊助人。同時，Arthur Huc是一位熱衷於亞洲藝術的收藏家，他的熱情源於他的傳奇祖先Evariste Regis Huc，中文名為古伯察（1813-1860），是法國天主教神父和旅行作家，在他的《韃靼西藏旅行記》書中描述了他在清朝的遊歷以及對蒙古尤其是當時幾乎鮮為人知的西藏的敘述。 收藏清單：1954年，圖盧茲法院法警 L. Magniette奉命對Marcel Huc從其父親Arthur Huc繼承的收藏品進行完整目錄彙編，即所謂的“ Inventaire Huc”。在此目錄裏，對本拍品有如下描述：片岩健陀羅鬼子母 高95，5厘米）。隨附目錄與其封面。品相：廣泛的風化和磨損。些微裂縫與舊修補。一些斷裂、缺損、划痕、凹痕和腐蝕。還保留著舊時的清漆塗層。 法國出口證書：隨附2017年7月3日出具的Certificat d’exportation pour un bien culturel 出口證書，編號 185430 。重量：總重 90 公斤 尺寸：高95.5 厘米 (不含底座) 木底座。 鬼子母神是古健陀羅地區主要佛教女護法神。當年，來自大唐的求法高僧義净671年來到健陀羅時，在寺院食堂附近發現了鬼子母雕塑 (見高楠順次郎的 Record of the Buddhist Religion as Practiced in India and the Malay Archipelago, Oxford, 1896)。到目前爲止，只發現了六件鬼子母神像。其中，這件雕塑是私人收藏中雕刻得最好的作品之一。在佛教故事裏都記載了關於鬼子母的傳説。據説夜叉鬼子母有一萬個孩子。爲了養育他們，她不停的去印度拉價格哈吞噬其他孩子。居民們不勝其擾，請釋迦牟尼來收服她。釋迦牟尼把她最寵愛的一個孩子藏在了他的食缽中。鬼子母找不到自己的孩子，只好找釋迦牟尼求助。佛陀說她現在也體會到了失去孩子的痛苦。於是，鬼子母收到慈悲的教化，成爲護法神之一。而與此同時，佛教僧人開始養育其孩子。 拍賣結果比較：一件相近片岩鬼子母像見倫敦邦瀚斯Islamic and Indian Art including Modern and Contemporary South Asian Art 拍場2019年10月22日lot 144, 售價GBP 187,562.

A KHMER SANDSTONE FRAGMENT OF TWO NAGAS, BAYON STYLEKhmer Empire, 12th-13th century. This expressively carved and incised fragment was once part of a very large Buddha Muchalinda statue, depicting a naga head with a smaller naga flanking it.Provenance: Belgian private collection. Condition: Good condition commensurate with age, extensive wear, losses, small nicks here and there.Weight: 4.9 kg (incl. stand)Dimensions: Height 30 cm (incl. stand) and 20 cm (excl. stand)In Buddhism the Naga are divine, half-human half-serpent beings that reside in the netherworld (Patala) and can occasionally take human form. They are depicted either as wholly human with snakes on their heads and necks, or as common serpents, or as half-human half-snake beings. A female Naga is called Nagini. Nagaraja is the king of all Nagas and Naginis. Nagas hold considerable cultural significance in the mythological traditions of most Southeast Asian cultures.Mounted on a modern metal stand. (2)Literature comparison: For a large Buddha Muchalinda from the 12th century, missing the top naga head, see Zacke, Fine Chinese Art, Buddhism and Hinduism on 25 April 2020, lot 437.

A LARGE GILT BRONZE STATUE OF MAHAKATYAYANA, RATTANAKOSIN KINGDOMThailand, late 18th to mid-19th century. Seated in dhyanasana on a stepped two-tiered base, the hands supporting his huge belly, wearing a dhoti with a finely incised shawl draped over the left shoulder, the face with a meditative yet slightly humorous expression, flanked by pendulous ears, the hair in tight curls.Provenance: From an Austrian private collector.Condition: Fine and original condition with old wear and minor losses to the gilding and lacquer. Some minor fatigue fractures. Few tiny dents and nicks here and there. Some losses.Weight: 27 kgDimensions: Height 46 cmMahakatyayana (or Katyayana) was a disciple of Gautama Buddha, listed among one of the ten principal disciples and renowned for his ability to elaborate on the Shakyamuni's terse instructions. His fat appearance is almost certainly co-opted from Chinese images of Budai. However, according to Thai folklore, Mahakatyayana (Thai: Sangkajai) was extremely sought after for his looks, so he transformed himself into a fat monk to avoid distraction from the arhat path. Greatly revered in Thailand, a similar, monumental sculpture of Mahakatyayana is built in Wat Bang Nam Phueng Nok, in Samut Prakan province (see fig. 1).Auction result comparison: Compare with a related but slightly larger copper alloy figure of Mahakatyayana (Himalayan Art Resources item no. 61649) at Bonhams Hong Kong in The Presencer Collection of Buddhist Art on 2 October 2018, lot 138, bought-in at an estimate of HKD 160,000-240,000.

A PYU SANDSTONE FRAGMENT OF BUDDHA, 9TH-10TH CENTURYPyu city-states. The face in a serene expression with arched eyebrows above downcast eyes, a broad nose, and slender lips forming a subtle smile, flanked by long earlobes, the hair surmounted by a tall usnisha, all behind a leaf-shaped mandorla. Central piercing to the bottom for mounting.Provenance: From a notable private collection in London, United Kingdom.Condition: Well preserved with extensive old wear, nicks, and losses.Weight: 1,452 gDimensions: Height 22 cmExpert’s note: Peace and tranquility, immortalized in this statue, seduces one to a strange belief - that the last millennium may have gone by in just the blink of an eye. Faint in its actual appearance, but close to our spirit is both the precious craft of the sculptor and the precious mind of the depicted.

A VIETNAMESE GILT-LACQUERED WOOD STATUE OF BUDDHAVietnam, 17th-18th century. The facial features emphasize reclusiveness while the sharp curls on his head symbolize spirituality. Carved seated in dhyanasana, the right hand lowered in dhyanamudra on his lap and the left raised in mutrashay mudra.Provenance: Hungarian private collection.Condition: Weathering, age cracks, some of which show old fillings and touchups, minor losses, and extensive wear to lacquer, the underside with several drilled holes and related fills, where the statue was once attached to a base.Weight: 7.9 kgDimensions: Height 51 cmFinely crafted red lacquer plinth. The base is sealed and hollow, possibly still bearing original offerings inside. Buddha is wearing long flowing robes, the serene face with heavy-lidded eyes and full lips forming a benevolent smile, flanked by long earlobes, the hair arranged in tight curls surmounted by an ushnisha.Literature comparison: Compare with a related Buddha, Vietnam, c. 1600, in the collection of The Pacific Asia Museum, accession number 1996.28.3.Auction result comparison: A closely related Buddha was sold in these rooms in Fine Chinese Art, Buddhism and Hinduism on 25 April 2020, lot 456, for EUR 15,168.越南鎏金漆木雕佛像越南，十七至十八世紀。面部表情強調隱逸，頭上捲髮像徵著靈性。 結迦趺座，右手施禪定印。 來源：匈牙利私人收藏 品相：有風化年齡裂縫，舊的填充物和補漆，輕微的損失，以及漆面的大量磨損，下側有幾個鑽孔和填充物，雕像曾經被固定在底座上。 重量：7.9 公斤 尺寸：高51厘米 拍賣結果比較：一尊相似的佛像，於本拍行2020年4月25日 Fine Chinese Art, Buddhism and Hinduism拍場售出，lot 456, 售價EUR 15,168。

A RED AND GILT-LACQUERED WOOD STATUE OF A CROWNED BUDDHAVietnam, 18th-19th century. Carved seated in dhyanasana on a plain oval base, the left hand raised in shunimudra and the right holding a magic jewel, wearing a loose-fitting robe opening at the chest, the serene face with heavy-lidded downcast eyes and full lips forming a subtle smile.Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. An institutional art collection in Belgium, acquired from the above. Dr. István Zelnik, President of the Hungarian South and Southeast Asian Research Institute, is a former high-ranking Hungarian diplomat who spent several decades in Southeast Asia, building the largest known private collection of Asian art in Europe.Condition: Good condition, commensurate with age, old wear, layers of lacquer partially renewed over the centuries, minor repairs, losses, age cracks.Weight: 9.2 kgDimensions: Height 54 cm木雕鎏金寳冠佛坐像越南，十八至十九世紀。寳冠佛結跏趺坐，左手舉起施耐心手印，右手握著一個寶珠，著飄揚長袍，袒胸，雙目微垂，微笑。 來源：原The Zelnik István Southeast Asian Gold Museum博物館收藏。比利時Institutional art collection, 購於上述收藏。 Dr. István Zelnik是匈牙利南亞和東南亞研究所所長，前匈牙利高級外交官，他在東南亞工作了幾十年，建立了歐洲最大的亞洲藝術品私人收藏。 品相：狀況良好，與年齡相符，舊磨損，漆層曾經過翻新，小修，缺損，老化裂紋。 重量：9.2 公斤 尺寸：高54 厘米

A MASSIVE GILT-LACQUERED WOOD FIGURE OF BUDDHA, 17TH-18TH CENTURYVietnam. Seated in dhyanasana on a red lacquered plinth, the hands lowered in dhyanamudra, wearing loose voluminous robes opening at the chest, the serene face with heavy-lidded eyes and full lips forming a benevolent smile, flanked by long earlobes, the hair in tight curls surmounted by a domed ushnisha.Provenance: From a Dutch private collection. Condition: Weathering, age cracks and losses, some of which show minor old fills and touchups, and extensive wear to lacquer, the underside with drilled holes, where the statue was once attached to a base.Weight: 7.0 kg Dimensions: Height 48 cmLiterature comparison: Compare with a related Buddha, Vietnam, c. 1600, in the collection of The Pacific Asia Museum, accession no. 1996.28.3.十七至十八世紀鎏金木雕佛陀坐像越南。佛陀結跏趺坐坐在紅漆蒲團上，雙手施禪定印，敞胸著寬鬆長袍，寧靜的臉龐，低垂的雙眼和豐滿的嘴唇形成仁慈的笑容，兩側是長長的耳垂，頭上螺髻。 來源：荷蘭私人收藏 品相：風化，年代裂縫和缺損，舊時小修和修飾，以及漆面的大量磨損，下側有鑽孔，雕像曾經固定在底座上。 重量：7.0 公斤 尺寸：高48 厘米

A patinated bronzed statue of a standing Buddha, 20th Century, 32 cm

A Chinese verdigris bronze Buddha head, probably 17th or 18th century, mounted on modern woodblock plinth, overall height 35cm, plinth width 23cmThis appears to be part of a full length statue

2nd-3rd century AD. An outstanding statue of Buddha, seated in a padm?sana or lotus position on a low throne, covered by a pillow and drapery, supported by two lions on each side, central relief representing an embroidery on the cloth decorated with two preaching bodhisattvas and their disciples, the first bodhisattva in the same position as Buddha and the other one with raised right hand in Abhaya mudra, a gesture of fearlessness; the statue reinforced on the back by a later added squared plinth; mounted on a custom-made display stand. See Ingholt, H., Gandharan Art in Pakistan, New York, 1957; Liu, X., Ancient India and Ancient China: Trade and Religious Exchange, AD 1–600, Oxford University Press, 1994; Taddei, M. ‘Afghanistan, Sculpture’ in Dictionary of Art, New York, 1996; Zwalf, W., A Catalogue of the Gandhara Sculpture in the British Museum, 2 vols., London: British Museum Press, 1996; Behrendt, K.A., The Art of Gandhara in the Metropolitan Museum of Art, New York, 2007; Brancaccio, P., The Buddhist Caves at Auraganbad: transformation in Art and Religion, Leiden-Boston, 2011.1.6 kg total, 22cm including stand (8 1/2"). Ex property of a London lady; formerly in the David Lindhal collection since 1969; accompanied by an archaeological expertise by Dr. Raffaele D’Amato; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10408-169982. Gandharan control of the high mountain passes was vital to the international commerce of the sea routes cross the Arabian Sea, which supplied an expanding overland trade through Gandhara and continued on to Central Asia and China. This made the region wealthy and the resulting cosmopolitan elites of Gandhara became some of the most powerful Buddhist patrons in all of South Asia. Buddhism probably reached Gandhara as early as the 3rd century BC; sculptures representing Buddha began to be present from the 1st or 2nd century AD. The hairstyle of our bronze, the form of his robes, and the treatment of the drapes, reflect stylistic contacts with the classical traditions of the West. The sensitive modelling of the head and face has an expressive quality not seen in the more formal images in stone from this period. The depictions of the Buddha seated on a platform over which a plain cloth is draped. The way in which the drapery folds, suggest that this is a cloth of medium weight, but in our example, the Buddha is seated on a low, backless throne and the textile over the throne is thick and elaborately decorated. The decoration occurs in vertical panels, of which the centre panel is almost a square and shows the embroidery with the two bodhisattvas, the enlightened beings who have put off entering paradise in order to help others attain enlightenment. The figure of the central Buddha flanked by the bodhisattvas is well visible in the Gandhara art, and a similar example to our small sculpture is the beautiful image of the Aurangabad cave no.5, interior shrine, where the main Buddha in padm?sana is flanked by bodhisattvas. Very fine condition.

A 19th century cast metal statue of a seated Buddha, possibly Thai, 31cm

Anonymous, bamboo statue of a laughing Buddha, 30 cm high

Thai wooden gold-colored sitting Buddha statue 22 cm high, old wooden bombarded image of an Eastern figure 32 cm high, wooden bombarded and polychrome colored Ganesha on a standard 14.5 cm high and a stone fragment depicting a sitting Buddha, presumably an archaeological find, on a stand 18 cm high

Bronze fire gilded Asian Buddha statue 43 cm high

Richly carved ivory statue of a seated Buddha, China, c. 1880, 19 cm high, 1260 grams. With certificate

Richly carved ivory statue of an Oriental Buddha, China, ca.1890, 6 cm high, 73.4 grams. With certificate

A MASSIVE THAI BRONZE STATUE OF BUDDHA IN PARINIRVANA, AYUTTHAYA STYLE Thailand, Ayutthaya Kingdom style, 19th century. Cast reclining with the head held resting in one hand, the other arm extended along his body, wearing a long flowing monastic robe draped over the left shoulder, the face showing an enlightened expression with almond-shaped eyes over gently arched eyebrows and slender lips, flanked by long earlobes, the hair in tight curls surmounted by an ushnisha. Condition: Very good condition with minor traces of age and wear, traces of gilt, tiny nicks here and there. Fine copper-red patina in some areas. Provenance: Ex-Collection of The Zelnik István Southeast Asian Gold Museum. Institutional art collection in Belgium, acquired from the above. Weight: 18.2 kg Dimensions: Length 107.5 cm Auction result comparison: A related figure, though smaller (84 cm long) and dated to the 17th/18th century, was sold by Christie’s New York in Indian, Himalayan and Southeast Asian Works of Art on 13 September 2016, lot 254, for USD $21,500.

BronzeThailand, 16th century , Sukothai InfluenceDimensions: Height 20,5 cm by 11,5 cmWeight: 857,5 gramsSukothai influence is drawn from Ceylon with sinuous curves and rounder shapes. This Buddha is seated in lotus position on a simple concave base with hands resting in his lap in meditation. A robe is draped over the left shoulder. The head is oval and fleshy with a small face, but eyelids unusually oval. Necklines and a chin line create a stout image. The ears are elongated and small curls cover the head with ushnisha topped by a flame. The statue is sealed at the bottom.

Red sandstoneIndia, (185 BC - 220 AC) Uttar Pradesh, Mathura area , Kushan periodDimensions: Height 67 cm by 25 cmWeight: 32.600 gramsSculpture belonging to the "Mathura art" of the Kushan period depicting a nobleman or monarch with the headdress and jewellery typical for that period.The "Mathura art" refers to a particular school of Indian art, which survived almost entirely in the form of sculpture, beginning in the 2nd century BC, and which concentrated near the city of Mathura, in the middle of northern India, at a time when Buddhism, Jainism flourished together with Hinduism in India.Mathura is considered the first artistic centre to produce sculptures for all three religions and was until the Gupta period the centre of the pre-eminent religious artistic expression in India. It was India's most important artistic production centre from the second century BC, with its highly recognisable yellow-speckled red sandstone statues.During the early Buddhist Kushan sculpture the anthropomorphic iconographic shape of the Buddha figure was developed,and for this draw upon the basic concept of "the characteristics of a large and noble being", the "mahapurusha lakshana", whose base is the very old representation of the forest spirit "yaksha",This monarch is therefore depicted as an upright strong figure, holding the end of his robe or dhoti in his left hand and holding a cord (possibly the Hindu "brahmin cord") in his right hand. The sculpture was part of the parapet of a stupa and as such was also sculpted at the rear. The holes on the sides served to connect the sculpture with wooden or stone beams with other sculptures of the parapet.Provenance: The statue was part of a British private collection since 1950 and was acquired by the current seller's family at an auction of Christie's in London in 1985

BronzeTibet , 15th centuryDimensions: Height 11 cm by 7 cmWeight: 288,9 gramsA crowned Buddha seated in lotus position on a double reverse lotus base with rim. The robe has a decorative brim with floral pattern, is draped around his left shoulder. His right hand is touching the earth, bhumispharsa mudra means calling the earth to witness and refers to the story of Buddha's victory over demon Mara. The other hand resting in his lap is holding a jewel. His eyes are downcast in meditation and elongated earlobes frame the round face. The statue is hollow.

Bronze with silver and copper inlaysTibet, 18th century or earlierDimensions: Height 28 cmWeight: 1993 gramsA standing Buddha on a lotus base on a square plinth. The Buddha is dressed in a translucent robe with floral pattern with copper and silver inlay. The right hand is showing the gesture of fearlessness, the other hand is lowered to the side of the body holding the end of the scarf falling down on the back over his left shoulder. The Buddha has very distinct necklines, a fleshy oval face with small, smiling lips and a large nose. The eyes are open and attentive. Elongated earlobes frame the face and rich curls cover the head and ushnisha. The back of the statue is free from intricate detail, the base is hollow.

A large statue of Buddha (a good decorators piece).

A modern cast bronze statue of Sakyamuni Buddha, 32 cm high CONDITION REPORTS Modern piece, no obvious damage. Approx 5kg. See images for more details

GARDEN STATUE OF BUDDHA

Carved wood Buddha standing statue, 60cm.

Large carved wood statue of a Buddha, 60cm.

An 18th century fan with ornate carving, in particular when views closed, from the side, the Buddha seated in a shell-like throne, painted in sea-green, with dolphins to the sides, above which the gorge continues with side shaping providing even more detail to the side view, the upper guards are both carved with this same seated figure, below which is a beehive, then a serpent, a plain column and to the lower gorge section, another sea creature, the central gorge becomes more European in design, a statue perhaps of a Roman soldier on stone plinth within a stone arch, pink roses and blue shells decorating the reserves, with straw baskets and wooden barrels of grapes attracting insects, the vellum leaf, mounted à l’Anglaise, is divided into two sections by large flowers in pink and blue, tinged with gold, both scenes show gentle countryside activities, with rural workers and a large stone building with circular towner, the top and side borders are painted with various flowers, leaves tinged with gold, with the addition of several sections worked in lattice form and filled with crushed mother of pearl, verso is painted in similar fashion with delicate leaves and flowers, surrounding a solitary lady taking the air, to the left edge, a date noted in ink, “17?9”, 26cm long

Oriental bronze Buddha statue 14th century with inlaid semi-precious stones. Character marks to underside of base.  11cm high

Japan, Hong Kong, India, West Indies, Venezuela, Egypt & Algeria.- [Townshend (Edward Lee, Captain, Cheshire Regiment and Cheshire Yeomanry, married Mildred Henrietta Cholmondeley, d. 1938, son of Edward Townshend, 1835-85, of 26 Hyde Park Gate and Wincham Hall, Cheshire, 1868-1914)] Travel journal of seven voyages to the Canary Islands, Spain, Egypt and the Holy Land, West Indies, "Round the World" (including India, Hong Kong, Japan and Canada) and Algeria, autograph manuscript, together 111pp. excluding blanks, slightly browned, original half calf, slightly rubbed, 4to, 1889-97.⁂ Townshend takes seven voyages in less than 10 years across the world, meeting numerous people and has a special interest in botanical gardens and plants.West Indies. Trinidad. "Feb.r 9 & 10th [1894] Drove about the island, up the Merivale [Maraval] Valley, & the Chinese Gardens... . Febru. 12th. Sir Napier [Sir Frederick Napier Broome (1842-96), colonial governor] & Lady Broome asked us to a lawn tennis party: Govt House is the finest in the West Indies. It boasts a magnificent ball room, & the house itself is both large and airy... . Feb 13th. Drove with the Bishop [James Thomas Hayes (1847-1904), Bishop of Trinidad & Tobago 1889-1904] to the Jacarigua Orphanage: All the schools seem excellently managed. The masters generally agree that up to the age of 15 the children compare most favourably with those of the same age in England... ."Japan. "April 7. [1895] Train to Nara & put up at our first teahouse. Went to the Dai Butsu temple with a bronze statue of Buddha 58 ft in height, the Kazuga temple where the Shinto priestesses perform the sacred dance & a sacred pony eats his dinner out of a polished brass manger. April 8. Ricksha to Kioto... Yaami's Hotel stands high looking down on the town with fir clad mountains behind; cherry trees everywhere in full bloom, flowers double, very large & all shades of colour from white to pale pink & deep red. There are 40 different kinds, one drooping like our weeping willows, very graceful. The curious shaped arches in either wood or stone in front of every temple stand for a letter or sign in Japanese meaning Heaven."

A 19th century Sino-Tibetan cast metal statue of a seated Buddha. Raised on a circular lotus plinth. With dark verdigris patina, 35.5cm. Good condition.

10th-12th century AD. A sandstone head of Avalokitesvara from a statue, with makuta crown of braided hair and miniature Buddha figure to the forward face; mounted on a custom-made stand. 4.5 kg total, 32cm including stand (12 1/2"). Property of a Cambridgeshire gentleman since 1990; previously in a private collection formed in the 1980s. Very fine condition.

2nd-3rd century AD. A carved schist statue of Buddha sitting cross-legged on a dais with drapery and crouching figures, the body with loose uttariya mantle, the hair swept back with ushnisha above; mounted on a custom-made stand. Cf. Jongeward, D., Buddhist Art of Gandhara in the Ashmolean Museum, Oxford, 2018, item 64. 7.9 kg total, 38cm including stand (15"). From a private German collection since the 1990s; this lot has been checked against the Interpol Database of stolen works of art and is accompanied by AIAD certificate number no.10186-167576. Fine condition.

Boxes and Objects - a gilt cast metal statue of Buddha, seated, 15cm high; a Japanese lacquered box etc (6)

An 18th Century Chinese antique bronze statue of Buddha with bead headdress seated in the Lotus position with one hand on knee raised on double lotus pedestal base. Measures: 12cm tall.

A 19th Century Chinese Tibetan antique bronze statue of Buddha with crowned headdress seated in the Lotus position holding snake with one hand on knee raised on double lotus pedestal base. Measures: 12cm tall.

A large and impressive 19th Century Chinese antique Buddhist hand carved statue figurine of Buddha. Hand painted polychrome decoration with carved detailed features. Raised on a double lotus pedestal base. Measures: 58cm tall.

A 19th Century Chinese antique bronze statue of Buddha with bead headdress seated in the Lotus position holding pot with one hand fraied in front. Raised on pedestal base. Measures: 10cm tall.

C. 386-534 AD. Northern Wei Dynasty. A painted brick featuring a reclining Buddha figure placed within a rectangular recess. Buddha, who supports his head with one arm, while the other is placed on his side, wears a red robe with blue details; his neat hair is picked out in black, his eyes are closed and his lips are accented in red. The reclining Buddha scene is important within ancient Buddhism, as it symbolises his final illness before passing into Nirvana (ultimate spiritual enlightenment). After his death, Buddha’s followers built a statue of him in the same reclined position; this brick may depict either Buddha himself or the statue. The Northern Wei dynasty ruled northern China from c. 386 to 534 AD, and its most famous achievement was unifying a large empire following a long period social and political turbulence. However, craftsmen working under this dynasty were also responsible for beautiful works of art, as this object exemplifies. Excellent condition. Provenance: Property of a North London professional; previously acquire on the UK/European art market in the 1980s.Size: L:170mm / W:345mm ; 5.5kg.

C. AD 618-907. Tang Dynasty. Stone head of Buddha with characteristic elaborate coiffured, two-tiered black “snail-shell” hair curls ornamented with a red spiralling jewel. The Buddha’s full face is gilded with a red painted urna in the centre of the forehead, and large pendant ears hang from the sides. The lightly closed eyes and small hooked nose complement the thick, rich red lips and modest chin. This beautiful piece may originally have formed part of a larger statue or statuette. Buddhism entered China as early as the Han Dynasty (late 3rd century BC-early 3rd century AD), and has played an important part in shaping the country’s art, politics, literature and philosophy. This beautiful stone head embodies the importance of Buddha to Chinese culture and reflects the enormous amount of work invested by Tang craftsmen. It would make a stunning centrepiece to any modern collection. Good condition; on a custom stand. Size: L:530mm / W:380mm (w/o stand); 73kg. Provenance: From an old Sumerset collection of Asian Art formed in the 1980s/1990s.

A Chinese gilt-bronze Shakyamuni Buddha,seated cross-legged wearing an ankle-length long robe with a scroll border, and a crown with long plaits cascading down the shoulders, his hands in Bhumisparsha mudra, 20cm high, fixed on a wood platform铜鎏金释迦牟尼坐像Condition report: Statue fixed to wood platform, unable to check condition of base. Surface scratches with gilt rubbed, minor dents. Inlaid missing.

An inlaid ivory and silver-mounted rectangular box and coverMeiji era (1868-1912), late 19th/early 20th centuryIntricately carved predominantly in varying degrees of relief, the cover decorated in high relief of shakudo, gilt and bronze with a warrior kneeling at the feet of Shakyamuni standing on the other side of river, the warrior holding up a miniature statue of Buddha as an offering, all the sides of the box with several rakan depicted at leisure with their respective attributes inlaid in shell or coloured ivory, the sides and six feet silver-mounted with silver filigree details, unsigned; with a wood storage box. 10.7cm x 16.8cm x 12.6cm (4¼in x 6 5/8in x 5in). (3).This lot is subject to the following lot symbols: Y ФY Subject to CITES regulations when exporting items outside of the EU, see clause 13.Ф This lot contains or is made of ivory. The United States Government has banned the import of ivory into the USA.For further information on this lot please visit Bonhams.com

A large gilt copper-alloy repoussé figure of Buddha ShakyamuniTibet, 17th century Well modelled seated in dhyanasana, his hand in bhumisparsamudra, wearing layered monk's robes gathered in cascading folds with finely incised floral hems, his face with a serene expression flanked by long pendulous ears, beneath a domed ushnisha, the base sealed. 34cm (13 3/8in) high.Footnotes:西藏，十七世紀 銅鎏金錘揲釋迦牟尼像From the back of this statue, it is apparent that the robe is a kasaya, garment made of patches of cloth joined together. In Chinese, kasaya is translated as 'futian' (happy fields 福田) because the patch pattern looks like a 'field' (tian 田). Therefore, supporting monks was considered to be equivalent to planting fields.See a related gilt bronze figure of Buddha, 17th century, with similar robe and hems, illustrated in Buddhist Images in Gilt-Metal, Taipei, 1993, pp.38-39, no.12.For further information on this lot please visit Bonhams.com

A wooden Buddha statue

An antique Oriental verdigris small bronze devotional statue of a seated Buddha, 11cm. Missing arch to the back, one of the supporting pegs lacking.