A PARCEL-GILT SCHIST HEAD OF BUDDHA SHAKYAMUNI, KUSHAN PERIODExpert's note: While it is reasonable to assume that many schist figures were originally polychromed, or in some cases gilt, following Greco-Roman prototypes, only very few examples remain. In the present example, the Buddha head retains much of its original gilding. Compare a closely related parcel-gilt and polychromed schist figure of the Buddha, 51 cm high, at Christie's New York, 12 September 2012, lot 522. Much like the Buddha in this example, the present lot was never part of a free-standing statue, but rather is a fragment of a large and prominent temple relief, as becomes obvious when viewing the backside. It also shows close stylistic affinities with early stucco productions from Gandharan sites at Taxila. The sensitive modeling has an expressive quality that is not seen often in the more formal stone images from this period.Ancient region of Gandhara, 2nd-4th century. Superbly carved, the serene face with heavy-lidded almond-shaped eyes, below elegantly arched brows, centered by a raised circular urna. The pronounced aquiline nose above full bow-shaped lips, the hair arranged in long wavy locks over the ushnisha.Provenance: From an old Belgian private collection. Acquired before 1970 and thence by descent in the family. Condition: Good condition, commensurate with age. Extensive wear, some weathering and erosion, obvious losses, encrustations. Few structural cracks, some possibly with old fills. Remnants of an old varnish coating, ancient gilt and pigment.Weight: 14.2 kg (excl. stand) and 18.9 kg (incl. stand) Dimensions: Height 30 cm (excl. stand) and 53 cm (incl. stand) Mounted on an associated stand. (2) Literature comparison: Compare a related schist head with undulating wavy hair, 38.7 cm high, dated 2nd-3rd century, in the British Museum, registration number 1929,1104.2. Compare also a related stucco head of the Buddha with traces of polychromy, 18.4 cm high, dated ca. 4th century, in the Metropolitan Museum of Art, accession number 13.96.4. 貴霜時期局部鎏金片岩釋迦牟尼頭像健陀羅古代地區，二至四世紀。雕刻精美，面容安詳，眼微閉，杏仁狀的眼睛，優雅修長的眉毛，雙眉之間有擺好。鼻子直挺，嘴唇豐滿，波浪形頭髮在頭上結高髻。 來源：比利時私人舊藏。1970 年之前購得，此後由家族傳承。 品相：品相良好，大面積磨損，一些風化和侵蝕，缺損，結殼，少量結構裂縫，小修，舊清漆塗層、鍍金和顏料殘留。 重量：14.2 公斤 (不含底座) ，18.9 公斤 (含底座) 尺寸：高 30 厘米(不含底座) ，53 厘米(含底座) 安裝在支架上。(2) 文獻比較： 比較一件相近的西元二至三世紀波狀波浪發片巖頭，高38.7厘米，收藏於大英博物館，館藏編號1929,1104.2。比較一件相近的約四世紀灰泥佛頭，帶有多色痕跡，高18.4厘米，收藏於大都會藝術博物館，館藏編號13.96.4。
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Bi-Metall Bronze with InsciptionTibet , 15th century Dimensions: Height 22 cm Width 13 cm Depth 10 cmWeight: 1785 grams Bronze figure of Buddha seated in dhyanasana posture on a double reverse lotus flower on square expansive base with mandorla at the back. One hand is lifted showing the abhaya mudra with prayer beads, gesture of fearlessness and protection, the other hand is resting gently on the knee holding prayer beads and forming a mudra. The face is smiling benevolently. A flower is growing on the side. The back of the base shows an inscription. The statue is sealed.
Bronze with cold gilt faceTibet or Kashmir Dimensions: Height 23 cm by 14 cmWeight: 1877 grams Seated Buddha with legs crossed and soles showing. The throne is made of a double reverse lotus flower attached to a thin surface and two lions stand on the flower, supporting the throne on the side, a carpet or reserve in the middle. The Buddha is holding his right palm upwards resting on the knee, left hand is raised also palm facing to the sky. The robe is covering his torso and legs forming waves. The ears are elongated, the face is smiling widely, the eyes are open and attentive. The hair and ushnisha is black. Two eyelets are attached to the back of the statue. The statue is hollow.
Grey schistGandhara 4th century Dimensions: Height 10,5 cm Wide 5 cm Depth 2 cm without baseWeight: 241 grams with base Maya is the mother of the Buddha. She was a virgin at her wedding but she got pregnant similar to the Virgin Mary in Christianity. In a dream one night, Maya saw a white elephant, that told her that the Buddha would arrive soon; however, she was unaware that she was carrying him.When she gave birth she did not experience any pain, but she died only a few days after giving birth to the Buddha.This statue is made of grey schist. How Maya is depicted is fitting to the various descriptions of her. She was described as having a radiant energy like gold and eyes shining like precious gems. Maya is also seen as a fertility figure, she stands here in a yakshi-like pose. Please have a look at the daylight pictures we added for you
BronzeNepal 15th century Dimensions: Height 9,5 cm Width 7,5 cm Depth 5 cmWeight: 313 grams Seated Buddha on double reverse lotus throne showing the bhumispharsa mudra, dressed in a simple robe covering his left shoulder, the end of the cloth spreading out underneath the crossed ankles. Elongated earlobes frame the broad, smiling face showing the meditative state of the Buddha. A diamond on top of the protuberance, the urna lightly incised on the forehead. The statue is sealed with a double vajra symbol on the bottom. Please have a look at the daylight pictures
Bronze giltThailand , about 1900 in Ayutthya Style but laterDimensions: Height 156 cm Wide 45 cmWeight: approx. 29 KilogramsThe Buddha stands upright and holds an alms bowl with both arms.This posture is said to recall the first morning in Kapilavastu after visiting his father's palace.Early in the morning the Buddha made his rounds through the city to receive food from his father's subjects,although his own relatives had made all preparations to receive him at the Nigrodarama.However, they had neglected to ask him the night before if he wanted to have breakfast with them.Traditionally, this statue is associated with people born on a Wednesday morning.
ClayPre-Angkor , 8th century Dimensions: Height 45 cm Wide 18 cm Depth 10 cm without baseWeight: 5511 grams with base Large statue of a standing Buddha dressed in a loincloth. The legs are missing from under the knee and the statue is attached to a square surface. The arms were bent at the elbows but are missing from there. The broad face is smiling, the earlobes are slightly elongated. The hair and ushnisha covered in curls. The statue shows heavy patina and rub-off on the face.Please have a look at the video and at the daylight pictures we just uploaded. No visible cracks or restaurations
BronzeCambodia , 12th century Dimensions: Height 24 cm Wide 10 cm Depth 5 cm without baseWeight: 4831 grams with base Exquisite statue of a Khmer Buddha attached to a marbled, square base with expansive bottom. The Buddha is standing with both hands showing the abhaya mudra, gesture of fearlessness and protection. The Buddha is wearing a translucent robe with ornamental brim, an elaborate, broad belt fastened around the waist. The chest is adorned with a necklace of pointy pendants, bracelets and armlets and ear pendants further decorate the body. The face has large, distinctive features like fleshy lips and triangle-shaped eyes. A drop-shaped urna on the forehead. The Buddha is wearing a Cambodian headdress as crown, the braided hair can be seen at the back. Provenance: Museè Chateaux Bourgone, Collection Label No. 397No visible damages,the base of the bronze has a label. Paris .. Bernard is readable.The weight of the bronze is 1092 grams and the marble base is: 3742 grams.Sculpture and bronze can be seperated
BronzeSwat Valley , 12th centuy Dimensions: Height 10 cm Wide cm Depth 6 cmWeight: 142 grams Another distinctive statue made in the Swat Valley style, showing Buddha seated cross-legged in a wide, flowy robe covering the whole body. The base is a rather large lotus flower with big petals. The hands are formed to varada mudra. The eyes are downcast, earlobes elongated and hair and ushnisha covered in small curls.
BronzeNepal , 16th century Dimensions: Height 9,5 cm Width 7,5 cm Depth 5,5 cmWeight: 332 grams Buddha seated cross-legged on a lotus throne in open-work with beaded rims. He is gesturing the bhumispharsa mudra, his lower body dressed in a flowy robe wrapped around the waist. He is wearing bracelets and a jewellery. His oval face is framed by elongated earlobes, the expression welcoming and friendly with a smile, a drop-shaped urna on the forehead. His head is backed by a mandorla. The back of the statue is flat, a broken eyelet in the center.
BronzeSwat Valley , 10th century or later Dimensions: Height 12 cm Wide 7 cm Depth 5 cmWeight: 291 grams Buddha of the Future bronze seated on drum-shaped lotus flower with beaded rim with legs crossed and dressed in a striped, long dhoti. The sacred thread runs along the naked upper body decorated with jewellery. The right hand is raised with palm facing the front, abhaya mudra, the left hand is holding a small flask containing the elixir of life or amrita. The face is smiling with a raised urna on the forehead, a tiara with floral spikes on the head, the elongated earlobes are adorned with large floral ear pendants. A metal noose on the back of the statue.
Bronze firegilt with Symbols and InscriptionsTibet , 17th century Dimensions: Height 16 cm Width 12 cm Depth 8 cmWeight: 756 grams Seated Bodhisattva on double reverse lotus base with beaded rim, cross-legged and showing the dharmachakra mudra. The base has inscriptions in the flower petals and on the bottom. The legs are covered by a dhoti with floral decoration and beaded brim. The body is adorned with beaded necklaces and bracelets with stone inlay. A thin shawl billows around the deity's shoulders. A winged, five-pointed tiara encircles the chignon. The square face has small features, red lips, downcast eyes and a large urna between the thin eyebrows. Two flowers are growing beside the Buddha, one carrying a holy script. The statue is sealed. Very unusual to see tibetan symbols and the eight auspicious symbols of luck engraved in the Lotus basePlease check the daylight pictures
BronzeChina , 19th century Dimensions: Height 50 cm Width 39 cm Depth 28 cmWeight: approx 20 Kg Large seated Buddha with legs crossed, dressed in flowy robes. His right hand is raised in front of the chest with palm facing towards the viewer, the left hand placed in front of the belly with palm facing the sky and middle finger bent towards the thumb. The robe is placed over his left arm. The round face has small features with cherub cheeks, smiling lips, downcast eyes and thin eyebrows. Elongated earlobes frame the face, the hair in tiny curls. The statue is hollow.
Ca. 581-618 AD.A stone head of Buddha with elaborate coiffured hair curls under a richly ornamented headdress. He is characterised by his arched brow, heavily lidded, half-closed eyes, bulbous nose, full lips, rounded chin, and large, pendulous ears. An urna is depicted in the centre of the forehead. This beautiful piece may originally have formed part of a larger statue. The Sui Dynasty was a period of profound change and innovation in Chinese history. It followed the Northern and Southern Dynasties and preceded the Tang Dynasty. During this time, Buddhism was introduced to China and gained a foothold in Chinese society.Size: L:260mm / W:140mm ; 15.8kgProvenance: From the private collection of a Somerset gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets.
A group of Oriental items to include a Shoulao statue, two laughing Buddha statues, a white metal censer, a brass tray, three fans, one waving scroll, a green silk wall hanging etc. CONDITION REPORT: Small repair to chest of carved wood Buddha. Other Buddha is resin. Small chips to soapstone figure.
Ca. 400-500 AD (or later).A bronze statue of Buddha is a remarkable representation of the enlightened figure in a solid metal form. Standing with his right hand raised in the abhayamudra, a gesture of fearlessness and protection, this statue exudes a sense of tranquility and compassion. The Buddha's attire includes the sanghati, a monastic robe that drapes gracefully around his body, revealing the soft contours and fleshy forms beneath. The intricate cascading drapery of his garment adds a sense of fluidity and movement to the sculpture, enhancing its visual appeal. The face of the Buddha is finely cast, capturing delicate features that convey a sense of serenity and wisdom. Full lips and heavy-lidded eyes, accentuated by gentle eyebrows, create an expression of calm and introspection. The pendulous earlobes, symbolic of the Buddha's renunciation of worldly attachments, are meticulously crafted, drawing attention to the spiritual significance of the figure. The hair, arranged in tight curls over the ushnisha, a cranial protuberance symbolizing enlightenment, further emphasizes the divine nature of the Buddha. An important aspect of the Buddha's appearance is the presence of a dot between the eyebrows, known as the urna. This auspicious mark signifies the Buddha's heightened perception and inner vision. It serves as a reminder of his deep spiritual insight and the ability to perceive truths beyond the ordinary realm. The Gandharan bronze statue of Buddha not only exemplifies the artistic skill of the Gandhara region but also reflects the religious and cultural significance of Buddhism during that period. These statues were revered as objects of devotion and used as focal points for meditation and contemplation. As physical representations of the enlightened one, they served as reminders of the path to enlightenment and sources of inspiration for practitioners. For a similar, see The British Museum, Registration number 1958,0714.1. This item comes with a custom-made stand. Size: L:310mm / W:120mm ; 2.27kg Provenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection.
Budai-Skulpturengruppe CHINA, Qing-Dynastie (1644-1912). Keramik mit cremefarbener Glasur. Der dickbäuchige, lachende Mönch wird auch als „Lucky Buddha“ (Glücksbuddha) oder „Laughing Buddha“ (lachender Buddha) bezeichnet. Die Statue des Lachenden Buddha befindet sich in chinesischen Klöstern in der Halle der vier Himmelskönige. Die Darstellung zeigt ihn lachend, von einer Kinderschar umgeben, mit dickem nacktem Bauch und in sitzender Körperhaltung auf seinem prall gefüllten Sack, um den sich ein Drache windet. Die Figur des Budai verkörpert einige chinesische Lebensideale. Der dicke Bauch steht für Reichtum, das Lachen und die lockere Sitzhaltung symbolisieren Gelassenheit und Zufriedenheit mit sich und der Welt. Die die Statue umgebenden Kinder weisen auf eine der chinesischen Haupttugenden hin: Kinderliebe. Als stets gut gelaunter, besitzloser Mönch stand Budai/Hotei ursprünglich für die Tugend der Selbstgenügsamkeit. Sein prall mit Almosen gefüllter Sack besagt, dass der, der mit wenig zufrieden ist, den größten Schatz besitzt. Er gilt auch als Buddha(aspekt), der dem einfachen Volk zugewandt ist und die in seinem Sack gesammelten Almosen an Kinder und Arme weitergibt. So steht er auch symbolisch für den sozial engagierten Buddhismus. Rückseitige Pressmarken. Altersspuren| Budai sculpture group of glazed ceramic. CHINA, Qing dynasty (1644-1912). The pot-bellied laughing monk is also known as Lucky Buddha or Laughing Buddha. The statue of the Laughing Buddha is found in Chinese monasteries in the Hall of the Four Heavenly Kings. The depiction shows him laughing, surrounded by a crowd of children, with a fat naked belly and in a sitting posture on his bulging sack, around which a dragon is coiled. The figure of Budai embodies some Chinese ideals of life. The fat belly stands for wealth, the laughter and the relaxed sitting posture symbolize serenity and contentment with oneself and the world. The children surrounding the statue indicate one of the main Chinese virtues: love of children. As an always good-humored, propertyless monk, Budai/Hotei originally stood for the virtue of self-sufficiency. His sack, bulging with alms, says that he who is content with little possesses the greatest treasure. He is also considered a Buddha(aspect), who is turned towards the common people and gives the alms collected in his sack to children and the poor. Thus, he is also symbolic of socially engaged Buddhism. Marked on the back. Signs of age.
Figur des Bodhisattva Avalokiteshvara. Grauer Stein. Kambodscha. Baphuon-Stil, 2. Hälfte 11. Jh.Aufrecht stehend mit vier Armen, gekleidet in einen von einem Gürtel zusammengehaltenen und gefältelten sampot, der hoch in den Rücken reicht und dort von einem Knoten in Schmetterlingsform zusammengerafft ist. Vorne auf dem linken Oberschenkel eine Tasche, deren glatter Stoff mit der feinen Fältelung kontrastiert. Fein geflochtene Haarsträhnen überziehen den Kopf und zylindrischen Chignon, vor dem eine Amitabha-Figur in Meditation sitzt. Montiert auf Sockel.Die außerordentlich fein gearbeitete Skulptur stellt Avalokiteshvara dar, den bodhisattva des Unermesslichen Mitleids. Er ist anhand der kleinen sitzenden Figur vor dem Haarknoten auf dem Scheitel eindeutig identifizierbar. Es handelt sich bei der Sitzfigur um Buddha Amitabha, einer der Fünf Kosmischen Buddha und geistiger Vater des Avalokiteshvara. Der vorliegende bodhisattva hat vier Arme, die ehemals die Attribute Lotos, Vase, Gebetsschnur und Manuskript hielten und Zeichen seiner Fähigkeiten sind, Beschwerden und Missstände aus dem Weg zu räumen. Die Art wie das Hüfttuch am Körper anliegt, es verknotet und in der Hüfte befestigt ist sowie die Eleganz von Kopf und Körperproportionen entsprechen dem Baphuon-Stil, der als Gipfel in der Khmer-Kunst gilt. Dieser hat seinen Ursprung in der Ausschmückung des gleichnamigen hinduistischen Tempelbergs, der in der Mitte des 11. Jahrhunderts errichtet wurde. Er lag im Zentrum der ehemaligen Khmer-Hauptstadt Yasodharapura in der Region Angkor. Da in dieser Zeit der Hinduismus im Khmer-Reich Staatsreligion war, ist eine solche buddhistische Kultfigur, die deshalb außerhalb des Angkor-Region entstanden sein muss, von seltener Besonderheit.Mit der vorliegenden Avalokiteshvara-Figur vergleichbar ist die Statue im Norton Simon Museum, siehe P. Pal Art from Sri Lanka & Southeast Asia, Asian Art at the Norton Simon Museum, Bd. 3, New Heaven and London 2004, Nr. 145; im Musée Guimet befindet sich eine weitere, wenn auch ein paar Jahrzehnte früher datiere Figur des Avalokiteshvara, siehe P. Baptiste und Th. Zephir, L‘Art khmer das les collections du Musée Guimet, Paris 2008, Tafel 48b.H 81,5 cmProvenienzSpink & Son Ltd., LondonBelgische Privatsammlung, erworben am 10.10.1984 von obigem Händler (Rechnung vorhanden)LiteraturAnzeige Spink & Son Ltd., London: Arts of Asia, Juli - August 1984
Collection of 4 Buddha statues: a reclining Thai Buddha made of gilded wood, Moggallana, disciple of Buddha (2) and Guan Yin Buddha statueLot van 4 Boeddha's: liggende Thaise Boeddha van verguld hout, Guan Yin Boeddhabeeld, Moggallana, leerling van Boeddha25 x 88 x 24.5 cm, H 26 - 31 - 28.5 cm
SHOKAKEN EISHUN: A BRONZE FIGURE OF AMIDA NYORAI AFTER THE GREAT BUDDHA OF KAMAKURABy Shokaken Eishun, signed Shokaken EishunJapan, early 20th century, Meiji (1868-1912) to Taisho period (1912-1926)Well cast seated in dhyanasana, the hands lowered above his lap and joined in mida no jouin (dhyana mudra), wearing a loose-fitting robe opening at the chest and cascading in voluminous folds, his serene face with heavy-lidded downcast eyes below gently arched brows centered by a circular byakugo (urna), flanked by long pendulous earlobes, the hair arranged in tight snail-shell curls over the domed ushnisha. The base incised with the signature SHOKAKEN EISHUN.HEIGHT 20.7 cmWEIGHT 2,309 gCondition: Very good condition with minor wear, casting flaws, few tiny nicks. The Great Buddha of Kamakura is a monumental outdoor bronze statue of Amida (Amitabha) and one of the most famous icons of Japan, located on the temple grounds at Kotoku-in in the city of Kamakura near Tokyo. It is also a designated National Treasure, and one of the twenty-two historic sites included in Kamakura's proposal for inclusion in UNESCO's World Heritage Sites. Including the base, it measures 13.35 meters (43.8 ft) tall and weighs approximately 103 tons. According to temple records, the statue dates from around 1252, during the Kamakura period, which it is named after.Auction comparison: Compare a closely related bronze model of Amida, signed Akimine saku, also dated Meiji to Taisho period, early 20th century, 29 cm high, at Bonhams, 16 September 2014, New York, lot 2186 (sold for 8,750 USD).
A PAIR OF GOLD AND COPPER MENUKI OF NIO GUARDIANSJapan, 18th-19th century, Edo period (1615-1868)Each finely cast in copper, with silver and gold highlights, as a Nio guardian standing in a dynamic posture, chanting their respective syllables, with muscular bodies and draped in billowing scarves.HEIGHT 2.8 cm (each) WEIGHT 9 g (total)Condition: Excellent condition with minor wear.Nio or Kongorikishi are two wrathful and muscular guardians of the Buddha standing today at the entrance of many Buddhist temples in East Asian Buddhism in the form of frightening wrestler-like statues. They are dharmapala manifestations of the bodhisattva Vajrapani, the oldest and most powerful of the Mahayana Buddhist pantheon. According to Japanese tradition, they travelled with Gautama Buddha to protect him. Within the generally pacifist tradition of Buddhism, stories of dharmapalas justified the use of physical force to protect cherished values and beliefs against evil. Nio are also seen as a manifestation of Mahasthamaprapta, the bodhisattva of power that flanks Amitabha in Pure Land Buddhism and as Vajrasattva in Tibetan Buddhism. They are usually a pair offigures that stand under a separate temple entrance gate usually called Niomon in Japan. The right statue is called Misshaku Kongo (or Agyo) and has his mouth open, and the left statue is called Naraen Kongo (or Ungyo) and has his mouth closed. Similar to Alpha and Omega in Christianity, they signify “everything”.
A LARGE BUTSUDAN (BUDDHIST ALTAR) FOR AMIDAJapan, 19th centuryOrnately crafted, the black-lacquered exterior with gilt metal fittings, with three drawers and two sets of doors, the inner doors with thin lining of silk to enable a respectful view of the Buddha, opening to reveal a beautiful shrine with rich gold lacquer and a standing figure of Amida in front of three miniature hanging scroll paintings depicting Amida in the center and two praying figures. The interior of the shrine is further decorated with carved relief panels with ho-o (phoenixes) and with two open-worked metal lanterns suspended from either side of the Buddha figure.HEIGHT 137 cmCondition: Very good condition. Some scattered losses here and there. Presents beautifully.Provenance: From a French private collection.A Butsudan (仏壇, lit. "Buddhist altar"), sometimes spelled Butudan, is a shrine commonly found in temples and homes in Japanese Buddhist cultures. A butsudan is either a defined, often ornate platform or simply a wooden cabinet sometimes crafted with doors that enclose and protect a Gohonzon or religious icon, typically a statue or painting of a Buddha or Bodhisattva, or a calligraphic mandala scroll.The Butsudan's primary use is for paying respects to the Buddha, as well as to family members who have died.Auction comparison:Compare a very large Butsudan, lacking the interior figures and paintings, at Lempertz, Asian Art, 27 June 2020, Cologne, lot 42 (sold for 4,750 EUR).
STATUE D'UN BODHISATTVA EN SCHISTE GRISANCIENNE RÉGION DU GANDHARA, VERS IIIE SIÈCLE99 cm (39 in.) high Footnotes:A GREY SCHIST FIGURE OF A BODHISATTVA ANCIENT REGION OF GANDHARA, CIRCA 3RD CENTURY 犍陀羅 約三世紀 片岩菩薩像 This handsomely carved statue depicts the bodhisattva Avalokiteshvara, who is identifiable by the seated image of the Buddha Amitabha, Avalokiteshvara's spiritual heir, in his turban headdress. As the pure and perfect Bodhisattva of Infinite Compassion in Mahayana Buddhism, Avalokiteshvara willingly prolongs his own enlightenment to guide all sentient beings to be reborn in Amitabha's Western Paradise of Sukhavati. The early worship of Amitabha and by extension, Avalokiteshvara, is attested in the Sukhavantivyuhasutra, a mid-2nd century Buddhist text that was translated and introduced into China by monks from the Kushan empire. This text, in addition to the following sculpture, was crucial for the dissemination of early Buddhist art into East Asia. The naturalistic folds of the robe, the muscular definition of the upper torso, and the nuanced bend of the right knee in contrapposto reflect Gandhara's ancient, urbanized culture, which merged Indic fashions with Iranian and Greco-Roman modeling. This confluence of artistic traditions was the result of Gandhara's geographic position along the maritime and overland silk routes around the 1st century BCE. Due to this influx of wealth and commerce, Gandhara's urban centers served as the crossroads connecting China, Central Asia, the Indian peninsula, and the Mediterranean, initiating the exchange of visual idioms over these transverses. For instance, the fan-shaped headdress surmounting Avalokiteshvara's head is a stylistic feature which later gave rise to the type of images originating from the Swat Valley. For an example of this detail from Swat, see a 7th century image sold at Bonhams, 7 October 2019, lot 801. Also compare with another Avalokiteshvara image from Gandhara, published in Lyons and Ingholt, Gandharan Art in Pakistan, 1957, p. 142, no. 326, and a bodhisattva with a similarly elongated, muscular torso in the Metropolitan Museum of Art, New York (1991.75). Provenance:Private European CollectionThis lot is subject to the following lot symbols: * W* VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.W Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
STATUE DE BOUDDHA EN SCHISTEANCIENNE RÉGION DU GANDHARA, IIIE/IVE SIÈCLE58 cm (22 7/8 in.) highFootnotes:A SCHIST FIGURE OF BUDDHAANCIENT REGION OF GANDHARA, 3RD/4TH CENTURY 犍陀羅 三/四世紀 片岩佛陀像 Published:Isao Kurita, Gandharan Art, Vol. II, Tokyo, 1998 & 2003, p. 103, no. 274.Provenance:With Claude de Marteau, Brussels, by 1970sThis sculpture of Shakyamuni sits in vajrasana over a cloth draped platform with his right hand raised in abhaya mudra and the left hand grasping the gathered folds of his delicately pleated sanghati. His face is sensitively modeled with open eyes, rounded cheeks, and a small mouth. The even rows of wavy hair converging onto a single point right above his forehead give form to his heart-shaped profile. Compare with two other seated Buddhas in the British Museum, published in Zwalf, Gandharan Sculpture, 1996, pp. 21 & 27, nos. 23 & 33, that share the same platform and hair style, respectively.This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
STATUE D'UN BODHISATTVA EN SCHISTE GRISANICENNE RÉGION DE GANDHARA, VERS IIIE SIÈCLE115 cm (45 1/4 in.) highFootnotes:A GREY SCHIST FIGURE OF A BODHISATTVA ANCIENT REGION OF GANDHARA, CIRCA 3RD CENTURY犍陀羅 約三世紀 片岩菩薩像Published:Isao Kurita, Gandharan Art, Vol. II, Tokyo, 1998 & 2003, p. 15, no. 17.Provenance:With Claude de Marteau, Brussels, by 1970sThis majestic figure of a standing bodhisattva evokes both strength and grace. He bears the qualities of a youthful prince, indicated by his jewelry and noble, smooth physiognomy. His pronounced musculature, circular nimbus, and lofty expression convey an idealized image of a divine and enlightened being. He likely represents Maitreya, who in Mahayana Buddhism is destined to succeed Shakyamuni as the next and final Buddha. Maitreya in Gandharan art is frequently depicted with a loosely folded topknot, a right hand raised in the gesture of reassurance (abhaya mudra), and a water flask that was presumably clutched by the lost lowered left hand. Reflecting the cosmopolitan attitude of Gandharan art, which fused Indic content with Iranian and Greco-Roman aesthetics, Maitreya is carved with long wavy locks, standing with a gentle contrapposto in the right knee. Located in what is today northwest Pakistan and southern Afghanistan, the ancient region of Gandhara was once a vibrant economic and cultural hub with an integral position within both overland and maritime silk routes around the 1st century BCE. The vast influx of wealth and commerce enabled Gandhara's urban centers to serve as the crossroads connecting China, Central Asia, the Indian peninsula, and the Mediterranean. However, Gandhara's advantageous geography meant the region fell repeatedly to invasion from powerful ancient empires. Alexander the Great conquered the ancient capital of Taxila in 326 BCE and the region was, for a brief time, absorbed into the Macedonian empire. After the death of Alexander, the Mauryans subsequently ruled for approximately one hundred and fifty years (c. 305-180 BCE). Greco-Bactrian invasions around 180 BCE then turned the region into an independent Indo-Greek kingdom (c. 185-97 BCE). One of its most famous rulers, King Menander I (r. 165/55-130 BCE), became a great patron of Buddhism and is still remembered for his dialogues with the Buddhist sage Nagasena, as recorded in the Milinda Panha, 'The Questions of Menander'. The Kushans, who were originally of Central Asian descent and adopted Greek and Iranian elements in their material culture, later established themselves in Gandhara in the early 1st century CE. The most accomplished of these kings was Kanishka I (r. 127-151 CE), who not only ruled a vast empire extending from Bactria to Pataliputra in Northeast India, but also followed the tradition of religious patronage set by the Indo-Greek kings and actively engaged in the creation and transmission of Buddhist literature, architecture, and art. It was during this cultural landscape of stone monuments and statuary, particularly once Mahayana Buddhism attained popularity in Gandhara by the late 2nd/early 3rd century CE, that images like the following sculpture were instrumental in the eastern transmission of early Buddhist art. Other standing images of Maitreya with similar attributes and stylistic features are found in several museum collections, published in Zwalf, A Catalogue of the Gandharan Sculpture in the British Museum, 1996, p. 38, nos. 51 & 52; Dye, The Arts of India: Virginia Museum of Fine Arts, 2001, p. 97, no.7; and Behrendt, The Art of Gandhara in the Metropolitan Museum of Art, 2007, p. 54, no. 42. For instance, the beaded jewelry adorning the present sculpture's hair and the floral medallions carved on the sides of the platform closely relate to the example in the Metropolitan Museum of Art, New York (13.96.17). Moreover, the acanthus leaves decorating the front of the present figure's platform, the large tassel hanging by the left arm, the sharp angular folds suspended over the left leg, and the deep ripples of the robe around the raised right forearm are striking in appearance to the example in Virginia. Also located beneath Maitreya's feet is an iconic trope illustrating a seated bodhisattva venerated by a congregation, as seen on two Gandharan statues of the Buddha, one sold at Bonham's, Hong Kong, 2 December 2021, lot 1036, and the other also from the Claude de Marteau Collection, Part 1, sold at Bonhams, Paris, 14 June 2022, lot 26.This lot is subject to the following lot symbols: WW Lot is located in the Bonhams Warehouse and will only be available for collection from this location.For further information on this lot please visit Bonhams.com
A GILT-LACQUERED BRONZE FIGURE OF SONGZI GUANYIN, MING DYNASTYChina, 1368-1644. Finely cast seated in dhayanasana above a separately cast and reticulated lotus base, the hands gently holding a male child with his hands folded in anjali mudra, dressed in flowing robes with floral hems, open at the chest to reveal an elaborate pendant, the face with a serene expression and downcast eyes, the hair tied behind a crown centered by the figure of Amitabha Buddha and covered by a cowl. Provenance: Dutch trade. Condition: Good condition with some wear, small nicks, little dents, few losses, small cracks, flaking to the lacquer, and casting flaws.Weight: 2,128 g Dimensions: Height 30.9 cmThe Songzi representation of Guanyin, or the 'Bringer of Sons,' is identifiable by the boy seated on her knee. Male children were extremely important to the Confucian family structure. They ensured not only the continuity of family and clan but that there would be uninterrupted generations to carry on the rituals of ancestral worship. The child-giving Guanyin was prayed to by worshipers for healthy children and intelligent male heirs.Literature comparison: A related gilt-bronze figure of Songzi Guanyin seated on a lotus base, 42.3 cm high, is illustrated by H. Munsterberg, Chinese Buddhist Bronzes, Rutland, Vermont and Tokyo, 1967, no. 73. Auction result comparison:Type: RelatedAuction: Christie's New York, 23 March 2012, lot 1787Price: USD 32,500 or approx. EUR 38,000 converted and adjusted for inflation at the time of writingDescription: A gilt-lacquered bronze figure of Songzi Guanyin, 17th centuryExpert remark: Compare the related pose, facial expression, and decoration. Note the size (25.7 cm) and the fact that this statue is fire-gilt whereas the present lot is lacquer-gilt.Auction result comparison:Type: RelatedAuction: Bonhams Los Angeles, 17 December 2019, lot 72Price: USD 8,200 or approx. EUR 8,600 converted and adjusted for inflation at the time of writingDescription: A gilt copper alloy seated figure of the Songzi Guanyin, 17th/18th centuryExpert remark: Compare the related pose, facial expression, and decoration. Note the much smaller size (14.3 cm).明代鎏金漆送子觀音坐蓮像中國，1368-1644年。觀音菩薩結跏趺坐坐於仰蓮台座上；觀音束高髻，天冠中有化佛，披頭巾；兩肩方圓，胸口平實，手部肌理豐滿圓潤，姿態纖巧生動；衣紋對稱，衣領與袖袍邊緣鏨刻紋飾，是典型的明代裝飾樣式。底座與造像分鑄而成。觀音懷中的童子頭形渾圓，面帶微笑，身穿肚兜，軀體圓潤，四肢長細，雙掌合十，雙腳交叉，神情愉悅地坐臥在菩薩的手掌之間。 來源：荷蘭古玩交易。 品相：狀況良好，有一些磨損、小刻痕、小凹痕、少許缺損、小裂紋、漆面剝落和鑄造缺陷。 重量：2,128 克 尺寸：高30.9 厘米 文獻比較： 一件相近的鎏金銅送子觀音坐蓮像，42.3 厘米高，見H. Munsterberg，《Chinese Buddhist Bronzes, Rutland》，佛蒙特和東京，1967年，編號73。 拍賣結果比較： 形制：相近 拍賣：紐約佳士得，2012年3月23日，lot 1787 價格：USD 32,500（相當於今日EUR 38,000） 描述：明末/清初銅漆金送子觀音坐像 專家評論：比較相近姿勢，面部表情和裝飾。請注意尺寸 (25.7 厘米) 。這尊雕像是火鍍金的，而現在的拍品是漆金的。 拍賣結果比較： 形制：相近 拍賣：洛杉磯邦瀚斯，2019年12月17日，lot 72 價格：USD 8,200（相當於今日EUR 8,600） 描述：十七/十八世紀鎏金銅合金送子觀音坐像 專家評論：比較相近姿勢，面部表情和裝飾。請注意尺寸小很多(14.3 厘米)。
A GILT-LACQUERED BRONZE FIGURE OF SEATED BUDDHA SHAKYAMUNI, RATTANAKOSIN KINGDOMThailand, reign of King Rama III, 1824-1851. Seated in virasana on a stepped lotus base with petal and floral decoration, his hands resting in dhyana mudra above the lap, the close-fitting sanghati finely cast with diapered floral designs and embellished in 'gesso' conveying a lavishly embroidered cloth, finely inlaid with red glass. The face showing a meditative expression with downcast eyes inlaid in mother-of-pearl, arched eyebrows, and a subtle smile, flanked by long earlobes, the hair tightly arranged in small spikes and surmounted by a flaming ushnisha. Provenance: From an old German private collection, acquired before 2007. Condition: Very good condition, some wear and flaking to the gilt, light scratches, small nicks, few dents, some inlays lost, casting flaws, and signs of weathering. A minor old repair to the peg at the lower end of the flame.Weight: 20.5 kg Dimensions: Height 67.7 cmThe flame is original to the statue but separately cast. (2)Buddha images wearing such patterned robes, a symbol of royalty, were introduced during the reign of King Rama III (reigned 1824-1851) and disappeared thereafter. It is thus most likely that this majestic sculpture was one such royal commission produced under King Rama III's reign.Literature comparison:See further examples of Rattanakosin period gilt-lacquer bronze Buddha images discussed in Rod-Ari, The Buddha as Sacred Siamese King: Brocaded Buddhas of the Third Reign, The Walters Art Museum Journal, vol. 73, 2018, figs. 1-5. Auction result comparison:Type: RelatedAuction: Christie's New York, 5 June 2004, lot 998Price: USD 4,541 or approx. EUR 6,500 converted and adjusted for inflation at the time of writingDescription: A Thai gilt-lacquered bronze figure of Buddha, late Rattanakosin period, 19th centuryExpert remark: Compare the related pose and gilt-lacquered decoration. Note the similar size (73.5 cm).Auction result comparison:Type: RelatedAuction: Bonhams Los Angeles, 30 August 2021, lot 113Estimate: USD 8,000 or approx. EUR 8,000 converted and adjusted for inflation at the time of writingDescription: A gilt lacquer copper alloy figure of buddha, Thailand, Rattanakosin period, 19th centuryExpert remark: Compare the related pose and gilt-lacquered decoration. Note the near-identical size (68.6 cm).
A MONUMENTAL LACQUER-GILT BRONZE STATUE OF BUDDHA SHAKYAMUNI, MANDALAY PERIODBurma, 1853-1948. Massively cast, seated in dhyanasana atop a tiered base centered by a shaped panel, his left hand resting on his lap and his right lowered in bhumisparsha mudra. Wearing long flowing robes cascading in voluminous folds, his serene face with agate-inlaid eyes. The full lips forming a calm smile, flanked by long pendulous earlobes, the hair in tight curls surmounted by an ushnisha and secured by a band of glass inlays.Provenance: From an Austrian private estate. Condition: Very good condition with expected wear and weathering, mostly to lacquer gilding, minor losses, some dents and nicks, light scratches, casting flaws.Dimensions: Height 104.5 cmLiterature comparison: Compare closely related examples in the Guimet Museum, Paris, accession number MA6210, and in the Asian Civilisations Museum, Singapore, accession number 2014-00461.Auction result comparison: Type: Closely related Auction: Bonhams Hong Kong, 29 March 2019, lot 41 Price: HKD 250,625 or approx. EUR 35,200 converted and adjusted for inflation at the time of writing Description: A copper alloy and lacquer seated Buddha in Maravijaya, Myanmar, Mandalay periodExpert remark: Compare the closely related pose, casting, and slightly smaller size (100 cm).
Original vintage travel brochure poster for Bangkok fly there by Qantas featuring colourful scenic illustrations of notable and historic places and views including buddhist temples and a classical dancer in traditional costume, a royal state barge on a river, the floating market with sellers on boats by wooden stilt buildings, the royal Ananta Samakhom Throne Hall and equestrian statue of King Chulalongkorn (Rama V), the University of Moral Science (established 1934; now Thammasat University), the sacred Emerald Buddha and the golden Kinnari statue at the Temple of the Emerald Buddha, the elephant statue at the Chakri Hall Grand Palace, a worker at the venomous snake houses at the Pasteur Institute (a research snake farm at the Queen Saovabha Memorial Institute; since 1912), the buildings and trees along the city's main Rajdamnern Avenue (Ratchadamnoen Avenue) and a man rowing a boat on the Chao Phraya River in front of the pre-17th century Temple of Dawn (Wat Arun), the title text above. Excellent condition, light folds, text from reverse visible, backed on linen. Country of issue: Australia, designer: Sellheim, size (cm): 44x37, year of printing: 1960s.
Large Sino-Tibetan gilt bronze statue known as a 'Vajrasattva'. The Vajrasattva, is a Buddha known as a purifier of karma, representing the energies and wisdom of the 5 dhyani Buddhas. - Weight: 2.05 kg - Shipping available - Region: Chine - Sizes: H 300 mm x L 200 mm - At first glance: normal wear / patina of use
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