- 556
明崇禎二年 千手千眼觀音像 設色絹本 |
估價
600,000 - 800,000 USD
招標截止
描述
- Disemper on cloth
題識:大明崇禎二年歲次己巳 弟子周邦彰薰沐拜寫印文：周邦彰印
來源
山中商會，大阪
大正時代 (1912-1926) 由日本藏家得於上述處
紐約蘇富比2009年9月16日，編號130
大正時代 (1912-1926) 由日本藏家得於上述處
紐約蘇富比2009年9月16日，編號130
Condition
null
我們很高興為您提供上述拍品狀況報告。由於敝公司非專業修復人員，在此敦促您徵詢其他專業修復人員，以獲得更詳盡、專業之報告。
準買家應該檢查每件拍品以確認其狀況，蘇富比所作的任何陳述均為主觀看法而非事實陳述。雖然本狀況報告或有針對某拍品之討論，但所有拍賣品均根據印於圖錄內之業務規則以拍賣時狀況出售。
我們很高興為您提供上述拍品狀況報告。由於敝公司非專業修復人員，在此敦促您徵詢其他專業修復人員，以獲得更詳盡、專業之報告。
準買家應該檢查每件拍品以確認其狀況，蘇富比所作的任何陳述均為主觀看法而非事實陳述。雖然本狀況報告或有針對某拍品之討論，但所有拍賣品均根據印於圖錄內之業務規則以拍賣時狀況出售。
拍品資料及來源
Meticulously painted and capturing a lyricism to denote the serenity of the scene, this painting is an exceptionally rare and fine example of late Ming Buddhist painting. It is framed by a painted silk lotus scroll border, in simulation of brocade mounts, and the five-clawed dragons at the top suggest this painting was commissioned not as a gift but for use at the court by the Chongzhen emperor himself.
This painting is a masterpiece of late-Ming esoteric Buddhist painting. This magnificent multi-armed and multi-headed manifestation is one of the most popular forms of the bodhisattva in Tibetan Buddhism and represents the deity as Sahasrabhuja-sahasranetra Avalokitesvara ('with a thousand arms and a thousand eyes'), elegantly rendered in delicate lines and warm tones, surrounded by extended hands that each holds an attribute. The principal hands held before the heart symbolically protect the jewel of enlightenment. The ten additional heads symbolize the steps on the path to Buddhist enlightenment, represented here by the figure of Amitabha Buddha held aloft; Amitabha being the spiritual progenitor of the bodhisattva. Numerous inscribed cartouches throughout the painting identify the characters within the landscape and include the thirty-six revered officials and the twenty-eight lunar mansions.
This painting follows in the Chinese tradition of Buddhist painting, which fused elements of Tibetan, Indian and Chinese imagery and reinterpreted them in a palette reminiscent of that seen on Chinese silk painting. In its style it has its roots in the Tang Dynasty paintings found at Cave 17 at Dunhuang in Gansu province, from the overall composition and color scheme to the billowing clouds and scarves to denote the celestial nature of the figures and inscribed cartouches. Compare a silk painting of Avalokiteshvara in the same eleven-headed form similarly surrounded by a myriad of figures, recovered from Dunhuang and attributed to the early 9th century, now in the British Museum, London, published in W. Zwalf (ed.), Buddhism. Art and Faith, London, 1985, pl. 320.
The eleven-headed form of the popular Avalokitesvara was revered in China from the late Ming dynasty through the Qing and was frequently depicted in various materials; see a large bronze figure attributed to the seventeenth century, from the Isabella Stewart Gardner Museum, Boston, sold twice in these rooms, 16th April 1971, lot 161, and again, 16th September 2009, lot 129; one from the Staatliche Museen PreuBischer Kulturbesitz, Museum für Völkerkunde, Berlin, illustrated in Chinese Art in Overseas Collections: Buddhist Sculpture II, Taipei, 1990, pl. 190; and an imperial thangka, dated to the Qianlong period, in the Palace Museum, Beijing, published in Tangka Paintings in the Collection of the Palace Museum, Beijing, 2010, pl. 164.
This painting is a masterpiece of late-Ming esoteric Buddhist painting. This magnificent multi-armed and multi-headed manifestation is one of the most popular forms of the bodhisattva in Tibetan Buddhism and represents the deity as Sahasrabhuja-sahasranetra Avalokitesvara ('with a thousand arms and a thousand eyes'), elegantly rendered in delicate lines and warm tones, surrounded by extended hands that each holds an attribute. The principal hands held before the heart symbolically protect the jewel of enlightenment. The ten additional heads symbolize the steps on the path to Buddhist enlightenment, represented here by the figure of Amitabha Buddha held aloft; Amitabha being the spiritual progenitor of the bodhisattva. Numerous inscribed cartouches throughout the painting identify the characters within the landscape and include the thirty-six revered officials and the twenty-eight lunar mansions.
This painting follows in the Chinese tradition of Buddhist painting, which fused elements of Tibetan, Indian and Chinese imagery and reinterpreted them in a palette reminiscent of that seen on Chinese silk painting. In its style it has its roots in the Tang Dynasty paintings found at Cave 17 at Dunhuang in Gansu province, from the overall composition and color scheme to the billowing clouds and scarves to denote the celestial nature of the figures and inscribed cartouches. Compare a silk painting of Avalokiteshvara in the same eleven-headed form similarly surrounded by a myriad of figures, recovered from Dunhuang and attributed to the early 9th century, now in the British Museum, London, published in W. Zwalf (ed.), Buddhism. Art and Faith, London, 1985, pl. 320.
The eleven-headed form of the popular Avalokitesvara was revered in China from the late Ming dynasty through the Qing and was frequently depicted in various materials; see a large bronze figure attributed to the seventeenth century, from the Isabella Stewart Gardner Museum, Boston, sold twice in these rooms, 16th April 1971, lot 161, and again, 16th September 2009, lot 129; one from the Staatliche Museen PreuBischer Kulturbesitz, Museum für Völkerkunde, Berlin, illustrated in Chinese Art in Overseas Collections: Buddhist Sculpture II, Taipei, 1990, pl. 190; and an imperial thangka, dated to the Qianlong period, in the Palace Museum, Beijing, published in Tangka Paintings in the Collection of the Palace Museum, Beijing, 2010, pl. 164.