十三世紀 大理銅繪漆觀世音菩薩坐像

powerfully cast in the form of the bodhisattva depicted seated with legs crossed in padmasana with lowered right hand and raised left hand in varada mudra, the elegant slender body gently curving with naturalistic flourish, adorned in a long flowing shawl covering the shoulders with sash-ends loosely fastened across the chest, a long undergarment extending down the lower body to the ankle, the chest and lower body decorated with sumptuous necklaces and chains, the face of elongated oval form bearing a serene, contemplative expression of relaxed detachment, with subtly outlined eyes cast downward and lips closed, wearing an elaborate five-leaf crown (rgs linga), together with a separately cast lotus base crisply cast with multiple layers of petals, lacquered overall in cinnabar-red and rich gilding and a late Ming dynasty pedestal of cantilever design surrounded by balustrades, boldly cast with two extraordinary kneeling caryatides and four Indian-form pillars flanking a pierced dragon panel

清末註上海法國總領事（1872-75）葛篤（1833-1905）收藏
此後家族傳承，繼入 Marie-Claude Jallu（1923-93）收藏，慕景

The figure has been preserved overall in good condition. As visible in the catalogue photo, there is rubbing to the gilding, flaking to the lacquer and losses to the inlays on the figure. Losses to the crown. Dents and bruises to the fragile exteriors. General oxidation.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

七十年代末，雲南千尋塔出土金、銀、鎏金銅、銅及木造佛像，當中有一觀音像與此尊相近，可資比對。大理國（937-1253），位處中國南方雲南省內，鄰近緬甸邊境，往東可達喜馬拉雅山脈。宋各地佛教由盛轉歇，唯大理遠離中原，獨興佛教。千尋塔發現之大理佛像，所飾面容與瓔珞獨特，均別於中原造像，特顯兩地塑像文化之差異。此尊觀音上頸及腰之瓔珞，贅於前胸、長及雙膝小腿之寶飾，以及飄帶末端之徐徐上捲，與現存昆明雲南省博物館千尋塔出土十二世紀銅菩薩坐像相近，見 Albert Lutz，《Der Goldschatz Der Drei Pagoden》，萊特堡博物館，蘇黎世，1991年，頁179，編號53。整體形態相近，然此尊冠飾瓔珞更形華貴，推斷時代略晚於千尋塔菩薩像，應屬大理國晚期十三世紀之像。

有關大理與雲南塑像之研究相對較新。美國學者 Helen Chapin 在1944年所發表之文章中，提出一批西方收藏中之塑像，與十二世紀雲南描工張勝溫《畫梵像》中所繪觀音立像相近，推證應屬雲南一系。《畫梵像》現藏台臺北國立故宮博物院，同上註，頁190，編號93。在修復千尋塔的過程中，發現有觀音立像，與舍利同置，風格與《畫梵像》中菩薩有共通之處。千尋塔見有金、銀立像例，現藏雲南省博物館，同上註，頁183，編號56，造型神態，與 Chapin 提到全球公私收藏中鎏金或銅像例吻合。該文且提到，此類造像應乃阿嵯耶觀音。當地傳說阿嵯耶觀音化身梵僧，七世紀時曾臨駕雲南。Wladimir Zwalf 指，此類佛像應乃為大理王室而製，有信阿嵯耶觀音能除災解難，詳見其著作《Buddhism: Art and Faith》，大英博物館，倫敦，1985年，頁206，編號297。有不少學者曾就印度風格對阿嵯耶觀音立像造型之影響進行討論，認為其坦胸、纖身、薄裙貼體，乃至高髻，皆蘊印度藝風。該批阿嵯耶觀音像，形態大致相近，或以同一異地造像為模。現品觀音像，卻飾流麗飄帶及繁華瓔珞，有別於上述阿嵯耶觀音像，風格更近中原唐風。