明正統 鎏金銅觀世音菩薩坐像 《正統丁卯年》《楊若明》款

finely cast in the form of the Bodhisattva seated in lalitasana on a double-lotus base with beaded edges, the right hand held in varada mudra and the left raised in vitarka mudra, both grasping an utpala lotus stalk meandering upwards along the arms to the shoulders, dressed in a dhoti and a loose shawl over the shoulders, adorned with sumptuous ornamental jewellery including earrings, beaded necklaces, bracelets, armbands and anklets, the serene expression accentuated with a subtle benign smile, crowned with a tiara afront a neatly tied knot, the pendent right foot resting on an individual lotus issuing from the double-lotus pedestal inscribed 'Zhengtong Dingmao Nian' (corresponding to 1447), the foot of the pedestal incised with a three-character inscription reading yang ruo ming (probably the name of the patron)

Joseph Morak（1889-1969）收藏，布拉格，此後家族傳承

Although the base plate is no longer with the figure, it has been preserved in good overall condition, with just expected oxidisation to the metal and minor surface wear, insignificant bruises, scratches and rubbing to the gilding at the fragile peripheral areas. There are traces of pigmentation to the crown
"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."

本尊觀世音菩薩作右舒坐姿，腳踏蓮花，神態自若，不失莊嚴。菩薩造像，常見佛相聖號眾多，如大慈大悲、世主、蓮花手等。觀世音心懷無限慈悲，憫憐天下蒼生，冀渡眾等離苦脫難。此尊菩薩，且以手印展現其無私救世之慈悲，右手施與願印，給予眾生希望，左手作安慰印，撫平所有恐懼。

觀此尊之雕塑造像特徵，顯現永宣二朝鎏金銅像之影響，見證御製佛像風格嬗變，為十五世紀中葉佛教造像風格研究提供重要實例。北京故宮博物院藏正統六年（1441）銘觀世音菩薩坐像，尺寸較小，坐姿手印與此同，然年代比此尊早六年，圖見 《故宮博物院藏文物珍品全集．藏傳佛教造像》，香港，2008年，頁232，圖版221（圖一）。二尊並排相較，對了解正統年間佛教造像風格發展甚有裨益。早於帕拉王朝（750-1199），觀音菩薩已以獨特之卡莎路巴納形象盛行於東印度，留下不少石雕銅像，例見 Ulrich von Schroeder，《西藏佛教雕塑》，香港，2001年，卷1，頁239，圖版72C。觀音菩薩原並不流行於西藏地區，然至永宣二朝，復見佛教神衹形像中外源流傳統之重視，成就觀音菩薩造像復興。Speelman 舊藏宣德觀音像例，售於香港蘇富比2006年10月7日，編號813，其形態與本尊相擬，印證十五世紀初至中葉佛教造像同出一脈，風格相承。