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A MASSIVE BRONZE FIGURE OF BUDDHA, LAN NA KINGDOM
奥地利
04月11日 下午5点 开拍
拍品描述 翻译
Northern Thailand, circa 1470-1503. Seated in padmasana on a beaded lotus base, pierced to the lowest tier with foliate motifs, the right hand lowered in bhumisparsha mudra, the left held in dhyana mudra above his lap, dressed in diaphanous monastic robes which culminates in a fishtail pleat to the chest. The serene face with heavy-lidded eyes, arched brows, and full lips forming a benevolent smile, flanked by elongated earlobes, the hair arranged in tight snail-shell curls over the ushnisha surmounted by a lotus bud. Provenance: Pao & Moltke Oriental Art, Toronto, Canada, 2004. A private collection in Toronto, Canada, acquired from the above. A copy of a signed invoice from Pao & Moltke Oriental Art dated 22 July 2004 (erroneously dating the present lot to the 19th century) accompanies this lot. Sear Hang Hwie Pao was one of Canada's leading dealers of Chinese porcelain and works of art. His antique store, Pao & Moltke Ltd., owned together with his wife Countess Nadia von Moltke-Kirsten, who descended from a German and Danish noble family, was a fixture in Toronto's trendy Yorkville area from the 1980s to early 2000s and was frequented by Chinese art collectors, academics, and curators alike. Pao came from a long line of collectors. Surrounded by art throughout his childhood, he was inspired to study at the State Academy of Fine Arts in Stuttgart, Germany, in the 1950s. It was here he met his future wife and business partner. Together they studied at the Academy of Arts, Berlin, for another four years. In the late 1960s, they moved to Toronto and opened the Peking Gallery at Church and Gerrard. In the 1970s, they changed the gallery's name to Pao & Moltke Ltd., relocating to Yorkville Avenue, before finally moving to its iconic location at Toronto's Four Seasons Hotel where it remained until his retirement in 2006.Condition: Good condition with ancient wear, weathering, and casting irregularities. Minor rubbing to details, small losses, tiny dings, few nicks here and there, a larger loss to the back of the right arm. Some heat damage, most likely occurred during a temple fire. The bronze with a fine, naturally grown patina showing vibrant cuprite encrustations.Weight: 31.1 kgDimensions: Height 67 cmThis bronze sculpture of the Buddha is a classic example of a new iconic mode, established during the Lan Na Kingdom's golden age under King Tilok (r. 1441-87), that proliferated under King Mueang Kaeo (r. 1495-1525). Variously termed 'Early Chiang Saen', 'Phra Singh', or 'Sihing' by different scholars (the latter two meaning 'lion'), this type of Buddha image is among Thailand's most sensuous, celebrated for its robust, fleshier build and expressive poise.The Sihing type depicts the Buddha seated with his right hand in bhumisparsha mudra, commemorating his Victory over Mara. A knob-like finial (perhaps a lotus bud or gem) surmounts the sage's cranial protuberance. His hair is arranged into prominent snail-shell curls. His face is round and his impressive physique features broad shoulders, a chest fully inflated with prana (yogic breath), and the soles of both feet pointed upward in the double-lotus posture. The hem of Buddha's robe is draped high above the left breast and has a fishtail end. Finally, lotus petals and stamens are represented underneath him, and the base has a polygonal shape, often with cutout panels, as it does here. For an in-depth stylistic discussion and numerous comparable examples, see Carol Stratton, Buddhist Sculpture of Northern Thailand, 2004, pp. 163-79, figs. 7.32-7.58.Ceasing to represent the Buddha in a Khmer manner by the 13th century, the emergent Thai kingdoms of Sukhothai and Lan Na developed their own emblematic Buddha images. Coded within Lan Na's Sihing type is an intriguing multiculturalism, with a physique and iconography drawn from Indian Gupta and Pala prototypes as they filtered through Pagan and Sri Lanka, and the lobed shape of the hexagonal base's cutouts deriving from the repertory of Chinese motifs. The Sihing image's dating has been long debated, but numerous examples are dated by inscription to the last quarter of the 15th century, and Woodward, Jr. suggests that 1470-1503, a period bookended by the earliest and one of the later known dated images, provides the range in which most of the uninscribed yet more beautifully-made sculptures can be placed (see Hiram W. Woodward, The Sacred Sculpture of Thailand, The Alexander B. Griswold Collection, Walters Art Gallery, 1997, p. 210).Auction result comparison: Type: Closely relatedAuction: Bonhams New York, 21 March 2023, lot 530Price: USD 63,375 or approx. EUR 64,500 converted and adjusted for inflation at the time of writing: A copper alloy figure of Buddha, Northern Thailand, Lan Na Kingdom, circa 1470-1503Expert remark: Compare the closely related modeling and manner of casting with similar pose, fishtail hem, and pierced pedestal. Note the size (52 cm).

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