CHINE DYNASTIE MING, XVIe SIECLE Rare statue de Akshobya en bronze doré Le bouddha assis en vajrasana sur une double base lotiforme aux imposants pétales, les mains en dhyanamudra, vêtu d'une robe monastique couvrant les deux épaules aux bords finement ciselé de rinceaux floraux, le torse nu avec un motif de svastika. La chevelure implantée en couronne autour de la tête et formée de délicates boucles. Le visage animé par une moustache et petite barbe aux fines bouclettes. La base non scellée.
NOTE Cette exceptionnelle statue en bronze doré représentant le Bouddha Shakyamuni en méditation, datant du XVIe siècle, présente une iconographie rare et singulière aux confluences des traditions artistiques Yuan et Ming. Elle mêle l'héritage iconographique et technique de la dynastie Yuan (1279-1368) aux innovations stylistiques de la dynastie Ming (1368-1644). Une pièce extrêmement proche, de même dimension et probablement issue du même atelier, est conservée dans les collections de la Chang Foundation et illustrée dans ? Buddhist Images in Gilt Metal ? Taipei, 1993, pl. 5. Il s'agit d'une représentation de Shakyamuni, le Bouddha y est représenté en bhumiparshamudra (? prise de la Terre à témoin ?). La période Yuan (1279-1368) est le théatre d'importants changements artistiques et culturels, rompant totalement avec la tradition lettrée de la dynastie Song. Dans le domaine de la statuaire bouddhique, l'influence himalayenne, et notamment tibétaine, devient omniprésente. En effet, la nouvelle dynastie donne sa faveur au bouddhisme vajrayana en accordant le contr?le de l'ensemble des bouddhistes au chef de la lignée des Sakyapa, une des quatre grandes écoles tibétaines. L'emploi du bronze doré se généralise dans la production d'images bouddhiques ainsi que l'emploi de la double base lotiforme. Ce sont ces éléments introduits à l'époque Yuan et d'inspiration tibétaine que l'on retrouve dans la présente pièce, où le Bouddha historique est représenté assis en vajrasana sur une imposante double base lotiforme dont les pétales présentent une importante stylisation. Il est également intéressant de noter que notre pièce emprunte quelques caractéristiques physiques aux modèles de la dynastie Yuan, notamment le traitement de la barbe en fines bouclettes et la chevelure composée de mèches aux boucles détendues formant une couronne autour du crane. Ces caractéristiques sont à mettre en rapport avec la statue en bronze doré de l'arhat Bhadra conservée au Musée National des Arts Asiatiques Guimet (MG 9729) et datée du XIVe siècle. Après moins d'un siècle d'existence, la dynastie Yuan dispara?t au profit de la dynastie Ming (1368-1644), d'origine Han. Les premières années de la statuaire bouddhiste Ming sont marquées par une lente évolution stylistique et la poursuite des modèles himalayens. Le XVIe siècle marque une réelle rupture artistique avec l'apparition de styles et d'iconographies qui perdureront jusqu'à l'avènement des Qing en 1644 et le retour du bouddhisme tibétain sur le devant de la scène. Ces choix stylistiques s'inscrivent dans une volonté dynastique d'un retour à un classicisme chinois, à la fois politique et culturel, poursuivant les modèles initiés notamment sous la dynastie Song. Ainsi, d'un point de vue iconographique, on constate notamment un changement dans le vêtement, qui s'éloigne de la simple robe monastique couvrant une épaule, iconographie issue des modèles lama?stes. Le Bouddha revêt désormais une robe (uttarasanga), un manteau couvrant les deux épaules (sanghati), et une jupe nouée haut sur le torse (anntaravasaka). De même, le fin décor de rinceaux incisés sur le bord du vêtement et la marque auspicieuse sur le torse (svastika) sont des caractéristiques iconographiques récurrentes e la seconde moitié de la dynastie Ming. Enfin, on soulignera la richesse de la dorure et l'excellente qualité de la fonte, typique du milieu de la dynastie Ming, où le soin accordé aux détails et au modelé donne une réelle présence à la figure du Bouddha.
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DYNASTIE MING, XVIe SIECLE
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We recommend that buyers pay by credit card or electronic bank transfer. In compliance with Article L.321-14 of French commercial law, a property sold at auction can be delivered to the buyer only once the auction firm has received payment or complete guarantee of payment. Legally accepted means of payment include: ? Cash (article L.112-6, L.112-8 and Article Article L.112-8 paragraph 2 of the Monetary and Financial Code) · max. 1 000 € · max. 15 000 € for private individuals who have their tax domicile abroad (upon presentation of a valid passport) ? Payment on line (max 3 000 €) http://www.aguttes.com/paiement/index.jsp ? Electronic bank transfer The exact amount of the invoice from the buyer’s account and indicating the invoice number. (Note: Bank charges are the buyer’s responsibility.)
Banque de Neuflize, 3 avenue Hoche 75008 Titulaire du compte : Claude AGUTTES SAS Code Banque 30788 – Code guichet 00900 N° compte 02058690002 – Clé RIB 23 IBAN FR76 3078 8009 0002 0586 9000 223 – BIC NSMBFRPPXXX
? Credit cards (except American Express and distance payment) ? Cheque (if no other means of payment is possible) · Upon presentation of two pieces of identification · Important: Delivery is possible after 20 days · Cheques will be deposited immediately. No delays will be accepted. · Payment with foreign cheques will not be accepted.
