There are 11614 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribeA PAIR OF CHINESE ENAMEL GLASS VASES 20TH CENTURY With flared necks and painted in colours with scrolling stems and flower heads and Buddhist emblems 27cm highTOGETHER WITH A PEKING GLASS INCENSE JAR WITH WOODEN STAND 20TH CENTURY the bowl 6cm high, the wood cover with agate lingzhi fungus finial Provenance: Private Collection Condition Report: wear to the surface overall good conditionCondition Report Disclaimer
A TIBETAN CARVED WOOD SUTRA COVER IN 14TH CENTURY STYLE Depicting seated Buddhist figures approximately 18cm high, 59cm wide, 2.5cm deep Provenance: Private Collection Condition Report: Please note the below condition report is the only one available. With wear, marks, knocks and scratches, particularly to edges, commensurate with age and use Some old chips, splits, and losses, please see additional imagesThe above report is supported with additional images which can be sent via a link. Please 'Ask a Question' to request these images. For any further enquiries please contact the department directly.Condition Report Disclaimer
A Worcester high-footed sauceboat, Circa 1753-4. Crisply moulded with two C-scroll cartouches below a scrolling rim, painted on both sides with a vignette of a 'Long Eliza' figure holding a flower spray, the interior with a flower spray below a border of Buddhist emblems and further flower sprigs, 20cm high
An enamelled porcelain figure modelled on one of the eight Buddhist treasures, known as the ‘Dharma Wheel’. It has a circular base on which is placed a flared foot, in foliate profile, supporting the image of the dharma chakra. Adorned with openwork and relief details of scrolls, leaves, shells and beads, enamelled with vibrant colours that emulate semi-precious stones. Inside the base is a six-character seal ‘??????’ in bas-relief. Set on a custom-made carved wooden base. Height: 28 cm
Two large porcelain vases, decorated with ‘famille rose’ enamels. They have a circular base and a balustraded profile that widens at the shoulders, above which is the stylised cylindrical neck, flanked by a pair of flat handles in the shape of a mythical beast enamelled in blue with gilt detailing. It is ornamented with four beautifully arranged scenes, two on the belly (larger) showing a large celestial court of multiple immortals celebrating the anniversary of the five elders, and two on the neck, with joyful children playing in a garden with a pair of bats. These scenes are set against the characteristic green background, commonly used in famille rose porcelain, covered with curling ruyi clouds, eight Buddhist treasures and small bats with outstretched wings. All framed by two borders of alternating ruyi and lotus patterns on a blue background.Height: 85 cmProvenance:- French private collection
**NO RESERVE**A Lot of 4 Iron Vajras with Intricate Designs.This collection includes iron vajras of varying sizes, one featuring elegant copper inlay details. The vajras exhibit intricate openwork designs with prongs and a mix of patinated and polished finishes. These ceremonial tools symbolise the indestructible nature of wisdom in Buddhist tradition.L: Ranging from Approximately 4.8-7.2cmProvenance: Private W London Collection
Ca. AD 200 - 300. A schist relief panel with the seated Buddha attended by Brahma and Indra, as well as two Bodhisattvas. It is an exquisite ensemble of sculptures that emanates an aura of spiritual significance and artistic brilliance. The central figure of the triad portrays the Buddha Shakyamuni, the historical Buddha who attained enlightenment. Sitting in the meditative lotus position, Shakyamuni Buddha exudes an aura of tranquility. The facial features are expertly sculpted, with almond-shaped eyes that convey a profound sense of compassion and wisdom. The finely chiseled nose, gently curved lips, and hair pulled up into a topknot further add to the figure's harmonious countenance. Flanking the central Buddha is Brahma and Indra and two attendant Bodhisattvas, emanating an aura of reverence and devotion. All of these figures are embodying the compassionate ideal of Buddhism, and stand in a poised posture. Adorned in ornate robes that drape gracefully over their bodies, the Buddha figures in the triad are resplendent with richly detailed patterns and textures. The folds and drapery of the garments are skillfully rendered, capturing the subtle movements and fluidity of the fabric. This Triad panel exemplifies the spiritual devotion and artistic mastery of its creator. The harmonious composition and the delicate balance of forms evoke a sense of awe and reverence, inviting contemplation and deepening one's connection to the Buddhist teachings. This triad stands as a testament to the enduring influence of Buddhism and the remarkable artistic legacy it has left behind. Size: 580mm x 540mm; Weight: 78.35kg Provenance: From the collection of a London gentleman; formerly acquired in early 2000s in Japan; previously in 1970s Japanese collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
Ca. 9th - 10th century AD.An exceptional gilded bronze bodhisattva. Seated in the padmasana lotus position, the figure is shown wearing a crown adorned with delicate details; the excellent metalwork displayed through necklaces, armlets and earrings. This is an outstanding example of early Nepalese Buddhist sculpture. Buddhist art during the Licchavi period displays strong Gupta style, with works made mainly in bronze and stone, displaying advanced metal casting techniques. The influence of this period marks a significant era for the development of Himalayan Buddhist art.Size: 220mm x 155mm; Weight: 3.63kg Provenance: Private UK collection, purchased in 2024 from a collection of Kensington Church Street gentleman who acquired the piece on the Asian art market in the early 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.
An brass and copper octagonal form plaque or platter, 19th century, decorated with Buddhist iconography, the central roundel depicts a high relief bodhisattva with attendants, within a zoomorphic border interspersed with dancing figures and mandala, a ribbed perimeter and outer border with a repeated design of figures spearing tigers and winged, crowned deities, 40cm diameter, together with a three handled pewter jug, 21cm high
A pair of 19th or 20th century Chinese carved bone figures of Buddhist men, possibly Immortals / Deities, one holding a flower and stick in hands, other with parasol (detached), (other hand missing item, broken off), both having wax style heads, on bone bases, tallest point to parasol tip approx. 17cm high. Further details: figure who would hold parasol has broken item in right hand, parasol itself has been re-glued to left hand in past but now detached; left foot broken in half; chips and nibbles to base; wear, scratches and wear to areas. Other figure with loss to hands, head moves / wobbles; some chips and nibbles; general wear and scratches etc.
Collection of Asian arts auction catalogues to include Christie's & Sotheby's Buddhist Works of Arts (8); Christie's & Sotheby's furniture sales catalogues including Feng Wen Tang Collection (6); Sotheby's, Christie's & Bonham's Chinese jade carving sale catalogues, including 'The Songzhutang Collection Sale' (12).
Spektakulärer phurba (Ritualdolch). Kupferbronze, feuervergoldet. Tibet. 18. Jh.Dreischneidige Klinge mit aufwändig gearbeitetem Griff mit drei gekrönten Köpfen einer zornvollen Schutzgottheit. Die Mitte des Schafts besteht aus mehreren Lagen Lotosblütenblättern und zwei magischen Knoten. Der große Kopf eines makara verbindet den Schaft mit der Klinge, auf der an zwei Seiten miteinander verflochtenen Schlangen, an der Rückseite verflochtene Bänder appliziert sind. Spuren von roten und weißen Pigmenten.L 37,5 cmProvenienzPrivatsammlung, Hessen, erworben bei Koller, Zürich, 1974, Auktion 31, Lot 46LiteraturVgl. zwei ähnliche Stücke in: Bräutigam, Uwe und Jeong-hee, Lee-Kalisch (Hrsg.). Tibet. Klöster öffnen ihre Schatzkammern, Essen 2006, S. 394f, Katalognr. 71 und ein weiteres Stück, datiert auf das 15. Jh. in: M. Henss, Buddhist Ritual Art of Tibet. Stuttgart 2020, S. 177, Abb. 200
Seltene Figur des Bodhisattva Vajrapani. Kupferbronze. Tibet, Pala-Stil. Ca. 12. Jh.Stehend auf einem separat gegossenen doppelten Lotossockel in abhanga, eingerahmt von zwei hohen Lotosblüten, die zu seinen Seiten emporsteigen. In seiner rechten Hand befand sich ursprünglich ein aufrechter vajra. Mit seiner Linken hält er einen der Lotosstengel, der eine ghanta (Glocke) in seiner Blüte trägt. Der bodhisattva ist in einen aufwändig verzierten dhoti gekleidet, geschmückt mit Ketten und einer Krone mit langen Bändern. Sein Haar ist zu einem hohen Chignon mit Juwel gebunden.H 20,3 cmProvenienzPrivatsammlung, Hessen, erworben bei Schoettle Ostasiatica, Stuttgart, 18.7.1973LiteraturVgl. die Ikonographie in: Ulrich von Schroeder, Buddhist Sculptures in Tibet, Bd. I, S. 310, Nr. 106D (Vajrapani); vgl. den Stil: ebd., S. 318, Nr. 110-A-B (Manjushri) und bei Himalayan Art Resources Nr. 200415
Vorzügliche Figur des gekrönten Vairocana. Kupferbronze mit Silber- und Kupfereinlagen. Westtibet. 1Auf einem hohen Thron aus zwei verspielten Lotoskränzen sitzend, hält er seine Hände in bodhyagri mudra vor seine Brust, was die höchste Erkenntnis symbolisiert. In der sambhogakaya-Form dargestellt, ist er mit prächtigen Juwelen geschmückt, trägt eine große Krone mit einem makara in der Mitte sowie einen hohen Chignon, der mit einem Juwel versehen ist. Sein fliegendes Schalband rahmt ihn ein und bildet eine symbolische Mandorla. Die Details seiner Kleidung sowie seine Augen und Lippen sind mit Silber und Kupfer eingelegt. Im Haar Reste blauen Pigments. Bodenplatte.In vielen Vajrayana-Traditionen wird Vairocana oft als Emanation des Adi-Buddha angesehen. Der Adi-Buddha wird als der ursprüngliche oder erste Buddha verstanden, die Quelle, aus der alle erleuchteten Wesen hervorgehen. Während der Adi-Buddha ein abstraktes Prinzip verkörpert, dient Vairocana als eine zugänglichere und greifbarere Form dieses Konzepts, eine, die gestaltet und dargestellt werden kann, insbesondere innerhalb des Mandalas der Fünf Weisheitsbuddhas. In diesem Zusammenhang nimmt Vairocana die zentrale Position ein, indem er die Qualitäten der anderen vier Buddhas – Akshobhya, Ratnasambhava, Amitabha und Amoghasiddhi – vereint und übersteigt.In bestimmten Sutra- und Tantra-Lehren wird Buddha Shakyamuni als eine irdische, physische Manifestation des Vairocana betrachtet, was Vairocana besonders bedeutsam für die frühe Entwicklung und Geschichte des tantrischen Vajrayana-Buddhismus macht. Dies verbindet auch den Buddha Shakyamuni indirekt mit der kosmischen Quelle des ursprünglichen Adi-Buddha.H 30,2 cmProvenienzAus dem Nachlass des Literaturkritikers, Schriftstellers und Asienexperten Helmut Uhlig (1922–1997), BerlinLiteraturPubliziert in: Helmut Uhlig, Tantrische Kunst des Buddhismus, Berlin 1981, S. 172-173, Nr. 62; Vgl. ähnliche Stücke in: M. M. Grewenig, E. Rist, Ausstellungskatalog, Buddha. Sammler öffnen ihre Schatzkammern, Köln 2016, S. 384, Katalognr.: 165; U. von Schroeder, Buddhist sculptures in Tibet, Band II, Hong Kong 2001, S. 1176, Katalognr. 315A-E; The Rubin Museum, New York, Nr. C2010.19
A Tibetan thangka, 20th century, painted with a bodhisattva with numerous of hands and heads, standing on a lotus pedestal in front of a mandorla in the shape of flames, surrounded by Eight Buddhist Embelms and other deities, 51 x 36cm, framed and glazed Condition ReportDid not examine outside of the frame. Cockled and creased. Paint losses in various locations, areas of retouch. Small pin holes along edges.Please see additional images.
A pair of Chinese gilt-bronze Buddhist lions, 19th century, each modelled with bulging eyes beneath bushy brows, a knobbly spine extending down the back with ruyi-snout and curly hair, leading to a large bushy tail, one with a cub on its back, the other with a ball under its front left paw, 36cm long (2)Provenance: The selected contents of The Old House, Aspley Guise, Bedfordshire.清十九世纪 铜鎏金佛狮摆件 一对Condition ReportSurface scratches and dents. Lion with pup - tail a bit loose, later fixed with screws and one missing.
STÈLE REPRÉSENTANT TARA EN PIERRE NOIRE POLYCHROMEInde du Nord-Est, époque Pala, vers le XIe siècleA POLYCHROME BLACKSTONE STELE OF TARANortheastern India, Pala period, circa 11th century 74 cm (29 1/8 in) highFootnotes:Veuillez noter que ce lot sera vendu sans réserve本拍品不設底價印度東北部 帕拉時期 約十一世紀 度母黑石碑Provenance:Dr David R. Nalin collection, US, before 1970Carlton Rochell, New York, 2005Published:Divine Incarnations: Art from India and Southeast Asia, Carlton Rochell Ltd, New York, 2005, no. 15.來源美國David R. Nalin博士舊藏，1970年代以前入藏Carlton Rochell，紐約，2005出版《Divine Incarnations: Art from India and Southeast Asia》，Carlton Rochell有限公司，紐約，2005年，編號15The Mahayana goddess, Tara, provides a primary source of refuge for Buddhists. Depicted here in the aspect of Syamatara, or Green Tara, which emphasizes her ability to save devotees from a variety of perils. Gracefully shifting her weight onto her left leg, she offers her outstretched right hand in the gesture of charity (varada mudra), an emblematic display of her compassionate virtues. A blue lily (utpala) blooms by her left shoulder.From the curvaceous modeling of her limbs and upper torso, to the fullness of her lips, pointed nose, and calm expression, this large and finely carved stele stands as a testament to the sensual modeling that characterizes sculptures from the Pala period of northeastern India (8th-12th centuries). The Pala period was a golden age in Buddhist art history, catalyzing pivotal aesthetic transformations that would become archetypal throughout many parts of Asia. For comparisons with another Pala sculpture that shares with the present sculpt in its asymmetrical standing pose, see a stele of Avalokiteshvara that was sold in Bonhams, New York, 17 September 2014, lot 92.Lot to be sold without reserve.This 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
IMPORTANT ET TRÈS RARE CABINET EN LAQUE NOIR PEINT À L'OR, GUIMarque et époque Longqing (1567-1572), les portes possiblement du XVIIe siècleAN IMPORTANT AND VERY RARE GOLD-PAINTED BLACK-GROUND LACQUER CABINET, GUIEight-character Longqing mark and of the period (1567-1572), the doors possibly of 17th century dateOf square shape and with square corners, fitted with two doors with surface-mounted large shaped bronze hinges and backplates cast with dragons amongst ruyi-shaped clouds, opening to an interior with a single shelf and lacquered red, the doors finely painted in delicate shades of gold and red on a black ground with a couple and their attendants on a fenced terrace bordered by plantain trees and ornamental rocks before an open pavilion, the other door similarly decorated with ladies gathered around a table inside a pavilion surrounded by plantains and ornate rocks bordered on all four sides by a band of confronted dragons contesting the flaming pearl painted in gold and red on a black ground, the sides each with a rectangular panel finely painted in subtle shades of gold and red with a sinuous, writhing five-clawed dragon ascending below a similar writhing five-clawed dragon descending amid lush and dense lotus scrolls with large blooms bordered by bands of dragons striding through lotus vines, the top boldly painted with a shaped medallion enclosing a pair of mynah birds resting on the branch of a flowering camelia and rockwork, framed by lush scrolling lotus blooms, the back similarly painted with a tall gnarled flowering prunus tree flanked at the base by a small cluster of pine and bamboo hidden behind an ornate rock and small sprays of lingzhi, all finely outlined in gold and in subtle washes of gold and red against a mirror-black ground and above a horzontal eight-character Longqing mark painted in gold along the centre lower section. 104 x 96 x 45 cm (41 x 37 3/4 x 17 3/4 in)Footnotes:PROPERTY FROM A BELGIAN NOBLE COLLECTION比利時貴族收藏明隆慶 黑漆描金方角櫃 「大明龍慶御用監製」款 （櫃門或爲十七世紀）Provenance:Formerly in the collection of Raymond Pelgrims de Bigard, Comte de Bigard (1875-1955), Chateau de Grand Bigard, Dilbeek, Belgium.Thence in the family by descent to the present owner.來源Raymond Pelgrims de Bigard（1875-1955）伯爵舊藏，大拜哈爾登城堡，迪爾貝克，比利時後經家族流傳至今This beautiful lacquer cabinet is one of the earliest dated examples of lacquer-painted furniture made. The mark on the lower back of the cabinet records that it was made during the Longqing period (1567-1572) of the Ming dynasty. The inscription further states that this cabinet was made by the imperial workshops yuyongjian suggesting that it was intended to be placed in the private quarters of the emperor's residence or in an official space in one of the numerous halls of the imperial palace. The five-clawed dragons painted on the sides and around the frame further support this claim as the use of this particular type of dragon was restricted to Imperial wares. Similarly rendered on contemporaneous porcelain and textile, these five-clawed creatures are typical of the ferocious designs of the late Ming period and leave no doubt as to the imperial origins of the piece.Lacquer wares inscribed with Longqing marks are very rare compared with the abundancy of surviving marked lacquer pieces made during the preceding Jiajing (1522-1566) and subsequent Wanli (1573-1620) periods. We can assume that the highly skilled artisans employed for manufacture of pieces made for the Imperial court of the Jiajing emperor are likely to have continued working under the Longqing and Wanli emperors thereby continuing to apply their technical expertise, skills and decorative repertoire to the works they created. Not surprisingly, the closest related examples of gold-painted lacquer furniture are cabinets dated to the Wanli period. One of these, a large Wanli-marked cabinet painted in the same technique with red and gold dragons amongst scrolling lotus on a black ground is in the collection of the Guimet Museum, Paris, illustrated in Sir Harry Garner, Chinese Lacquer, London, 1979, pl. 144 (Fig. 1). Another example inscribed with a Wanli mark and similarly decorated in shads of gold with striding five-clawed dragon is a pair of chests published in Valrae Reynolds and Yen Fen Pei, Chinese Art from The Newark Museum, New York, 1980, cat.no. 25, pp. 46-47.The technique of decorating a black or brown lacquer surface with designs in subtle shades of gold and red is just one of several lacquer-working techniques listed by Huang Cheng in his treatise on lacquer, Xiushi lu 髹飾錄 (On Lacquer Decoration) believed to have been compiled first during the Longqing period of the Ming dynasty. Other techniques include carved lacquer, filled lacquer, smooth lacquer, colorful-painted lacquer, painted gold paint, gold lacquer, piled lacquer and inlayed lacquer. However, in the Jiaqing, Longqing and Wanli period, pieces with gold-painted lacquer or painted lacquer decoration are extremely rare and only a handful of examples are known. The majority of known pieces include smaller items such as two small cabinets similarly painted with gold dragons and lotus on a black lacquer ground, published in Hu Desheng (ed.), Collections of the Palace Museum: Painted Furniture, Beijing, 2009, nos.89 and 99, but also large, representative compound cabinets and smaller cabinets such as the present example. In Sir Harry Garner noted that no other painted lacquerware known belonging to the sixteenth or early seventeenth century was as important as these pieces of Imperial furniture. The technique employed in this type of decoration was also complex and according to Garner required several steps and required great skills as the brushstrokes had to be precise. On this cabinet, the quality of the dragons and lotus scroll differs on each side suggesting different artisans were involved. The lacquer surface on all sides of this cabinet displays a consistent craquelure underlining the quality and purity of the original lacquer used. Unusually, the top and the back of this cabinet are also lavishly decorated, featuring a flowering prunus tree and a flowering camelia, both skilfully rendered in shades of red and gold. This rare feature only appears on a pair of Wanli-marked gold-painted black lacquer cabinets decorated with Buddhist lions amidst lotus scrolls, the back also painted with a large flowering prunus tree, rocks and magpies below a Wanli mark in a horizontal cartouche, sold in Sotheby's Hong Kong, 7 April 2008, lot 1628, the second in Sotheby's London, 4th May 1984, lot 106. The designs on the sides, top and back of this wonderful cabinet perfectly match designs found on other marked Ming lacquer pieces of furniture and place this cabinet in a rare group of Imperial wares. However, the finely decorated doors of this cabinet depicting ladies and their attendants engaged in leisurely pursuits are a unique feature and do not appear on any other marked piece of Ming painted lacquer furniture. It appears that the quality of the painting and the wonderfully subtle shades and washes of gold and red employed to bring to life the two domestic scenes ... 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
STATUETTE DE PADMASAMBHAVA EN ALLIAGE DE CUIVRE DORÉTibet, XVe siècleA GILT COPPER ALLOY FIGURE OF PADMASAMBHAVATibet, 15th centuryHimalayan Art Resources item no. 1991 13.4 cm (5 1/4 in) highFootnotes:西藏 十五世紀 銅鎏金蓮花生大士像Provenance:Acquired from Schoettle Asiatica, Stuttgart, 4 November 1986.Collection of Christian von Reitzenstein.來源於1986年11月4日得自Schoettle Asiatica，斯圖加特Christian von Reitzenstein珍藏Often referred to as the 'Second Buddha', Padmasambhava is widely revered across all Tibetan Buddhist orders, given the endearing appellation, Guru Rinpoche ('Precious Teacher'). He is depicted with a semi-wrathful appearance while wearing his distinctive cap. He holds a vajra in his right hand and a skull cup in the left. A heavy robe wraps around him and falls across his shoulders body and legs in soft folds. This particular work shares its resemblance with a 15th century image illustrated in Ulrich von Schroeder, Indo-Tibetan Bronzes, 1981, p. 449, no. 122C. Like all Tibetan portraits, his likeness was meant to promote his divine power, especially as the forefather of the Nyingma lineage, the oldest of Buddhist schools in Tibet.For further information on this lot please visit Bonhams.com
STATUETTE DE SHADAKSHARI LOKESHVARA EN ALLIAGE DE CUIVRE DORÉTibet, XVIe siècleA GILT COPPER ALLOY FIGURE OF SHADAKSHARI LOKESHVARATibet, 16th centuryHimalayan Art Resources item no. 1995 12 cm (4 3/4 in) highFootnotes:西藏 十六世紀 銅鎏金四臂觀音像Provenance:Acquired from Galerie Gross, Wiesbaden, 12 February 1977.Collection of Christian von Reitzenstein.來源於1977年2月12日得自威斯巴登Galerie Gross藝廊Christian von Reitzenstein珍藏Shadakshari Lokeshvara personifies an essential Buddhist mantra, om mani padme hum ('Hail to the Jewel in the Lotus'), whose six syllables represent the seeds of the six realms in the great cosmic wheel. This ubiquitous Sanskrit mantra is thought to contain the essence of Bodhisattva Avalokiteshvara as the Lord of Compassion. For comparisons with another Tibetan figure depicting this same deity, see one sold in Bonhams, 14 March 2016, lot 44.For further information on this lot please visit Bonhams.com
RARE STATUE DE BOUDDHA EN LAQUE SECHEXVIIe/XVIIIe siècleA VERY RARE LARGE DRY-LACQUER FIGURE OF BUDDHA17th/18th centurySeated in meditation in dhyanasana on a lotus pedestal with a double row of lotus petals, with his hands held in anjali mudra, wearing a diaphanous dhoti tied at his waist and falling in generous folds across his legs, his shoulders and arms covered with a fine shawl, his face with a serene expression, with arched brows, wide downcast eyes, a straight nose and a gentle smile, the hair neatly combed and tied up into a chignon, small traces of gilding and red pigments. 67 cm (26 3/8 in) highFootnotes:PROPERTY OF A FRENCH LADY法國女士私人珍藏十七/十八世紀 夾紵乾漆佛像Provenance:Collection of C.T. Loo (1880-1957), Paris.Collection of Mme Lucie Gass, Boulogne, C.T. Loo's restorer, then in the family by descent and acquired from the descendants of Mme Gass by the present owner in September 1990.The result of CIRAM C14 sample no. 0724-OA-1137J, dated 16 September 2024, is consistent with the dating of this lot.來源盧芹齋（1880-1957年）收藏，巴黎Lucie Gass女士收藏，布洛涅，盧芹齋之修復師，後經家族流傳，現藏家於1990年9月得自Gass女士後人。本拍品經法國CIRAM實驗室碳-14檢測編號0724-OA-1137J（2024年9月16日），結果與其斷代相符This rare large figure of a seated buddha is made in dry lacquer, a material that was rarely used in Chinese sculpture as it was more often carved from stone or cast in bronze. The technique of making hollow core dry lacquer sculpture was complicated and required skilled craftsmen. In a first step a clay core in the shape of the designated image was was created on an internal armature onto which layers of cloth strips were applied thereby helping to create a more detailed form of the figure. Multiple layers of lacquer were applied over a first layer bulked with fillers, the clay core removed and the dried lacquer surface painted and gilt. Inside the hollow figure wood pieces around the interior edges of the base provide structural support. Very few Buddhist hollow-core dry lacquer figures are known. They include three dry lacquer figures of Buddha, one in the Walters Art Gallery in Baltimore, the second in the Freer Gallery of Art, Washington, and the third in the Metropolitan Museum of Art, New York, all three dated to the late sixth and early seventh centuries, an eighth century dry lacquer figure of a bodhisattva in the collection of the Cleveland Museum of Art, and a dry lacquer figure of bodhisattva in the Nepalese style dated to the Yuan dynasty (accession no. F1945.4) from the collection of the Smithsonian in Washington, D.C. Samples taken from the wood inside the buddha have revealed a date to the 18th century. No large dry lacquer figure of this date is known but stylistically we can relate the figure to the sculptures produced in the region of Jehol near Chengde northeastern China. These sculptures made in the 18th century reflect Tibetan influence and reflect the Qing courts espousal of Tibetan Buddhism and its preference for Buddhist sculptures made in the Tibeto-Chinese style. The sculptures in the Wan fa gui yi dian in the Potala in Jehol illustrate the style favoured by the Qianlong emperor (Fig. ). Compare this figure with a very large gilt wood figure of Buddha, sold Christie's Hong Kong, 29 May 2019, lot 2704.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
RARE GRANDE STATUETTE D'AVALOKITESHVARA À ONZE TÊTES EN BRONZE DORÉXVIIIe siècleA RARE LARGE GILT-BRONZE FIGURE OF ELEVEN-HEADED AVALOKITESHVARA18th century Heavily cast, the standing figure with eight arms eleven heads arranged in three tiers (the top two heads missing), the principal hands held in anjalimudra, the other six hands fanned out, one hand holding a kundika, wearing a fine two-layered dhoti with finely chased floral borders, tied at the waist below a bejewelled belt, a fine shawl over a deerskin draped around the shoulders, wearing elaborate bejewelled necklaces and bangles. 49 cm (19 1/4 in) highFootnotes:十八世紀 銅鎏金十一面千手觀音像Provenance:A French private collection acquired in Paris in the 1970s.來源法國私人收藏，於1970年代得自巴黎In Buddhist philosophy, the bodhisattva is a being who postpones his or her own liberation for the sake of ushering others along the path to enlightenment. The figure of Avalokiteshvara in its eleven-headed aspect represents the supreme, highest embodiment of compassion. Buddhist tradition holds that this bodhisattva, seeing the state of many beings throughout the world, was so moved to help alleviate others' suffering that his single head became a tower of eleven in order to see panoramically, and his two arms multiplied such that he could reach out in all directions. In this superb representation of the Compassionate One, the universal aspiration of a Buddhist deity and the regal status of a prince are united in a single figure that combines spiritual wisdom with worldly authority. The eleven-headed Avalokiteshvara was an important iconographic figure throughout the Buddhist world over a long duration of time. Masterfully crafted, the present Tibetan example can be compared with others from places as widespread as Nepal, Tibet, Mongolia, and East Asia. Compare with a Nepalese example in the collection of LA County Museum of Art, illustrated in P.Pal, Art of Nepal, 1885, p.36, fig. 17. See also a Tibeto-Chinese example at the Pacific Asia Museum, acc.no.1995.20.2; and a closely related Tibetan example in a private collection, HAR item no. 66738.For further information on this lot please visit Bonhams.com
STATUETTE DE CHAKRASAMVARA EN ALLIAGE DE CUIVRE DORÉNépal, XIVe siècleA GILT COPPER ALLOY FIGURE OF CHAKRASAMVARANepal, 14th centuryHimalayan Art Resources item no. 1990 13.2 cm (5 1/4 in) highFootnotes:尼泊爾 十四世紀 銅鎏金勝樂金剛像Provenance:Acquired from Schoettle Asiatica, Stuttgart, 22 November 1982.Collection of Christian von Reitzenstein.來源於1982年11月22日得自Schoettle Asiatica，斯圖加特Christian von Reitzenstein珍藏Chakrasamvara is an important transformative deity (yidam) in Vajrayana Buddhism and represents Buddha-like compassion. The female deity, Vajravarahi, embodies Buddha-like wisdom. They are depicted here in ecstatic embrace. He cradles her in his primary arms, producing vajrahumkara mudra by crossing the vajra and ghanta in his hands, symbolizing that wisdom and compassion have dissolved into one perfect interpenetrative union. They stand upon prone and contorted human figures on a large circular lotus platform.Gilt-bronze figures of Chakrasamvara demanded the best craftsmen in order to produce complex images that could both express and inspire the most exquisite state of mind. Chakrasamvara features prominently across all Tibetan Buddhist schools and is the principal transformative deity of both Kagyu and Sakya lineages. The Phagdru Kagyu sect installed Chakrasamvara as the principal deity of Drigung monastery in Lhasa (founded 1179). Chakrasamvara is also key for the Newars of Nepal, who perceived the entire Kathmandu valley as his mandala (celestial abode). They were the master painters and sculptors who produced superlative works for Tibetan patrons, such as the Sakyas at Ngor monastery (founded 1429).For further information on this lot please visit Bonhams.com
A Chinese polychrome and giltwood seated figure of Guanyin, Guangxu period inscription for the first year of his reign, c.1875, seated on a lotus throne with overhanging canopy, the stand with four attendant supports, inscribed in black ink to the reverse with a dedication to Guangxu and a Buddhist salutation, 36cm high
Near pair of Japanese Imari plates, scalloped edges painted with flowers and buddhist symbolism, the central reserve decorated with a vase of flowers, approx 22 cms diameter. This lot includes three more Imari plates, each profusely decorated approx 22 cms diameter. (5) -Condition ReportOne scalloped plate has a small chip and hairline crack. Plate II is in good condition.
THREE CHINESE BLUE AND WHITE KRAAK WARE PORCELAIN DISHES, LATE MING DYNASTY. Each with lobed rims. One dish unusually decorated featuring a cricket insect; Together with bird in landscape scene and insect surrounded by Buddhist emblems and fruit sprays. 16/17th century. 14cm - 20.5cm. (3)Provenance: Property of a Sussex gentleman Larger dish with faint 4cm hairline at rim. No signs of repairs. Minor nicks to rims. Smaller dish in good condition.
AN INDIAN BHIMA TERRACOTTA TEMPLE STELE AND TWO OTHERS. The first moulded with a seated Buddha before the wheel of Dharma flanked by apsaras, raised on plinth base, 10cm high exc. base, two South East Asian amulets, the first in bronze possibly Thai or Tibetan, cast with a standing Buddhistic figure, 7.5cm and another in gilt terracotta, moulded with a seated Buddhist figure (3) The first with small chip to front corner of terracotta base, slight surface wear, drilled at three points to base for mounting on metal plinth. Overall in good decorative order.The amulets with minor wear and surface scratching.
TWO SOUTH EAST ASIAN CAST METAL ITEMS OF DOOR FURNITURE. Comprising: a door handle in the form of a dancing Buddhist female deity, with screw fittings, the other, a door knocker cast as an elongated figure with arms outstretched holding an offering, with long robe and peaked hat, 21.5cm long (2) Small areas of rusting to the door handle, some surface scratching to the knocker through use, some surface wear overall.
A JAPANESE BLACK LAQUERED INRO The four sections decorated with a horse feeding and a figure standing holding a noose 6cm high and a Chinese jadeite carved circular pendant with an articulated Buddhist wheel within an archaistic band of beasts, 5.7cm diameter (2) Condition Report:some wear to surface
A gilded metal figure of a Buddhist Deity with four faces and eight hands; the principal hands expressed in mudra and the remaining six hands each holding an attribute [including a vajra]. Seated with the right leg [supported on the padma stem] in lalitasana on a double lotus base; 12cm high and about 9cm wide, 18th or 19th Century.Provenance: The Property of a Lady. From a Private UK Collection.The combination of iconography for this sculpture may imply some connection with a figure of Pratisara from the Pao-hsiang-lou pantheon, said to be from a Lama Temple in the garden of the Tz'u-ning Palace, located in Beijing's Forbidden City. Whilst Pratsara also has eight hands with the principal pair expressed in mudra, and is also seated in lalitasana, the sculpture may only have three faces, instead of the four on the figure here.
Three small metal alloy sculptures, comprising: a Buddhist Deity [possibly Avalokitesvara] seated in dhyanasana on a square, stepped base, about 12cm high; a scroll weight [or other object for the Literati's studio], modelled as a dragon grasping a pearl 10.5cm wide; and a small dragon-headed sculpture, possibly for use as a joss-stick holder, about 9cm high [3]Condition Report: Please note that this is a group lot, and that condition may vary from object to object. The dragon headed joss-stick holder [or other object] appears to have been one element from a larger composition that has been damaged and re-mounted on a wood stand.
A gilded metal figure of a Buddhist Deity, possibly Amitayus [Amitabha], a Principal Deity of Pure Land Buddhism. Seated in dhyanasana on a circular, lotus base with both hands held together at his front [his flask of nectar deficient, but a circular hole denotes that once there], 10 cm high; the circular base plate with crossed vajra., 19th Century or possibly earlierProvenance: The Property of a Lady. From a Private UK Collection. For a Mongolian figure of Amitayus, dated 17th/18th Century, seated with the nectar flask, see Metropolitan Museum [Accession Number 1992.193.1], Gift of Steven Kossak.Condition Report: Please note the damage and loss to this sculpture. This includes: The circular hole on the right hand is presumed to to imply a lost nectar flask; circular holes on the arms and chest is presumed to imply lost inlay; and the regular, circular base may imply that the figure was originally part of a larger composition. Weight 382.80 gm.
A Japanese cypress wood carved figure. Heian, 11th century, probably a Buddhist monk, seated, height 31cm, now on a hardstone base. Mollie believed this figure was purchased from Wilfred Sloane, in the 1980s.Mollie & Graham met in Wimbledon in 1978. He, a Cornishman, born in Gulval in 1930, acquired an early appreciation of art visiting Newlyn Gallery with his family. In his early career Graham worked in London writing for the Daily Express and he was responsible for one of the first Arts columns in a tabloid paper, but in 1960 he opened an antique shop in Chelsea. Inspired by trips to Italy, he displayed early furniture and antiquities in an uncluttered modern setting, a technique he later utilised in his own home. The Darks moved back to Cornwall in 1980 and at their home in Flushing, and later Truro, curated an impressive body of art and antiquities with a particular focus on Cornish artists such as Paul Feiler and Terry Frost, who both became close friends. The paintings were displayed alongside mid-century modern designer furniture by Eames, Bertoia and Magistretti, and arrangements of antiquities, thought of as ‘ensembles’ by Graham. Warm, charming, and generous hosts, they entertained their artistic circle of friends in their exquisitely arranged home, and it is a privilege for us to handle their beautiful possessions today. We hope to present them to you with as much care and consideration as the Darks used, and that those two remarkable connoisseurs would have approved.Graham Dark 1930-2015Mollie Dark 1928-2024
A Chinese porcelain dragon and phoenix food warmer, Guangxu dynasty, of two-handled form, with liner dish, the borders with precious Buddhist emblems, on three cloud-painted legs, six character mark of Daoguang in blue18cm high (excluding stand)Rubbing to the gilding to the cover. There are three faint carcks which radiate from teh rim of the cover inwards - these are more visible form the underside.Small firing faults in places. Rubbing to the gilding on the handles
A pair of late 20thC Cantonese famille rose porcelain vases, on wooden stands, of shouldered ovoid form, with double dog of fo handles, decorated with reserves of figures in gardens, within a ground decorated with flowers, butterflies and Buddhist emblems, six character Qianlong marks with double circle to the bases, 86cm high.
A fine Qing Dynasty Chinese soapstone figure of a seated Buddhist lion in powerful pose, the underside of the left leg with lengthy inscription, 19cm high. Provenance: The John and Margaret Rankine Collection. Accompanied with a copy of the purchase receipt from 16th September 1953, described as carving in pale brown and grey soapstone of a seated Buddhistic lion bearing the hind leg and inscription reading: "Made by MA Yu-Yuan and The Great Ching Country" Ming Dynasty, 1368-1644 and purchased for £80.
DALAI LAMA: (1935- ) Tibetan spiritual leader, Nobel Peace Prize winner, 1989. Signed colour 2.5 x 4.5 photograph of the Dalai Lama in a head and shoulders pose wearing his familiar Buddhist robes. Signed in blue ink to a light area at the head of the image and also dated (?) in his hand beneath his signature. With printed Tibetan text to the verso. About EX
A Sino-Tibetan thangka, 20th c, painted in polychrome gouache on cotton with Padmasambhava, the Buddhist Vajra master born from a lotus, surmounted by the Seated Buddha and a ferocious Chinese dragon, the sides with female deities and flowering foliage, 86.5 x 60cm Good condition. Unexamined out of frame.
Standing Buddha an unusual life size gilt wood standing Mandalay Buddha is likely from Burma . It has clear Tai Yai influences, specifically the painted eyes. The Buddha can be seen with a youthful expression wearing traditional Burmese attire with inlaid coloured glass decoration, He stands on a lotus flower base and is depicted in the traditional Mandalay Buddha form standing in samabhanga posture with his left hand holding his robe and his right hand forming the vitarka mudra. His uttarasanga (robes of fully ordained Buddhist monks) hangs closed covering his arms and chest. The antaravasaka (a Buddhist undergarment) can be seen on the waist. The sanghati (the outer robe hanging from the shoulder) falls in folds from his left shoulder. 1 metre 68cm tall
Possibly depicting the bodhisattva Avalokitesvara in a standing position, with the right hand in kataka mudra and the left lowered in varada mudra. He wears a draped garment cinched at the waist with a belt, leaving the chest uncovered. His long curly hair is tied up and falls gracefully over his shoulders.Provenance: from the Ullman collection, Italy.Catalog notes:The figure is not easily identifiable (the absence of jewelry suggests a resemblance to a Buddha) however, it is clearly influenced by Tibetan art, evident in the facial expression, hair, and posture. This can be compared to a 10th/11th-century Nepalese figure of Vajrapani from the Qing court collection, preserved in the Palace Museum in Beijing, and illustrated in Palace Museum 2007, The Complete Collection of Treasure of the Palace Museum: Buddhist Statue of Tibet, Shanghai, p. 77, no. 74.铜鎏金观音像，汉/藏，十七/十八世纪
Loading...
![Three small metal alloy sculptures, comprising: a Buddhist Deity [possibly Avalokitesvara] seated in dhyanasana on a square,](https://cdn.globalauctionplatform.com/bc73d2c4-f254-44a1-a840-b22c0157ebe9/92199f48-9d19-4f32-9348-b23b015d62cb/468x382.jpg)
![A gilded metal figure of a Buddhist Deity, possibly Amitayus [Amitabha], a Principal Deity of Pure Land Buddhism. Seated in d](https://cdn.globalauctionplatform.com/bc73d2c4-f254-44a1-a840-b22c0157ebe9/7eb3274a-deb5-4870-8231-b23b015f4aef/468x382.jpg)
