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A Rare Large Sandstone Head of Crowned Bodhisattva
美国
06月29日 上午7点 开拍
拍品描述 翻译
北魏 砂岩雕寶冠菩薩頭像(應出自雲岡石窟)
Sensitively carved the serene face with downcast almond-shaped eyes beneath gently arched brows, the full lips curved into a meditative smile, flanked by elongated earlobes and framed by an elegant coiffure swept up into a domed top knot, the upper head crowned with a neatly arranged diadem featuring lotus motifs, with well-modeled chin and jawline.Mounted on a fitted hardwood base. Likely from The Yungang Grottoes. Northern Wei Dynasty period, 386–535 A.D.
Height: 16 in (40.6 cm) Width: 7 3/4 in (19.7 cm)
Provenance: From the collection of Ms. Dora Wong, New York Born in the 1930s, Ms. Dora Wong is an internationally renowned Chinese-American fashion designer and art collector who has been active in the art scenes of New York and Hong Kong for several decades. A native of Shanghai, she came from a distinguished intellectual family: her maternal grandfather, Yao Wenge, was a late Qing dynasty scholar-official, and her father, Huang Weisan, was both an industrialist and a painter. Educated in both Eastern and Western traditions, she studied at St. Mary’s Hall and Fudan University before moving to Hong Kong in 1958. Recognized by French-American designer KK Lau, she went on to study at the Balenciaga fashion institute in Paris in 1961 and founded her own label, "Pandora," opening her first boutique at the Hilton Hotel in Hong Kong in 1963. Her designs quickly captivated celebrities across Southeast Asia, Europe, and the United States. In the 1970s, Ms. Wong relocated to New York at the height of her fashion career. She designed for iconic figures such as Marilyn Monroe, French actress Capucine, and members of American political and business circles. Alongside her fashion success, she began collecting Chinese art, acquiring her first piece in 1975. This marked the beginning of a deep and refined collecting journey spanning early carvings, classical paintings, and Qing court art, all known for their superb quality and scholarly provenance. Among her most notable acquisitions is a group of rare imperial portraits from the Qing court’s "Hall of Purple Splendor" (Ziguangge), including portraits of Fuheng, E'hui, and Keshike Batulu. These works became the focus of exhibitions at the Smithsonian’s Freer Gallery and the Sackler Museum, with the Fuheng portrait believed to be by Giuseppe Castiglione (Lang Shining), bearing exceptional historical and artistic value. Ms. Wong’s collection also includes classical Chinese paintings by major artists such as Wen Zhengming, Dong Qichang, Zhang Daqian, Qi Baishi, Fu Baoshi, and Lin Fengmian. Many works in her collection previously belonged to renowned collectors and scholars including Arthur M. Sackler, Laurence Sickman, Richard G. Pritzlaff, and C.C. Wang, and have been highly praised in academic circles. Her Japanese Buddhist painting from the Muromachi period is currently held and studied by the Princeton University Art Museum. Numerous works from her collection have been loaned to major institutions such as Princeton University, the Peabody Museum, and the Royal Ontario Museum. Her private studio, Gu Huan Ge ("Pavilion of Ancient Joy"), was named by C.C. Wang himself, symbolizing her love for classical culture and discerning taste. Ms. Wong’s remarkable achievements in both design and collecting stand as a testament to the extraordinary presence of Chinese women on the global cultural stage and her lasting contributions to the study and preservation of Chinese art overseas.
During the Northern Wei dynasty, Buddhist sculpture reached an extraordinary height, driven by strong imperial patronage. This bodhisattva head is a fine example of the early Yungang Grottoes style, reflecting a harmonious blend of Gandharan and Gupta artistic influences. The high ushnisha, deep-set eyes, and prominent nose are hallmarks of this aesthetic, while the serene and compassionate expression conveys a balanced sense of strength and tranquility. The surface of the stone bears the marks of age—natural weathering, mineral encrustations, and an aged patina—offering a genuine sense of historical depth. It represents a superb integration of Western stylistic elements with Chinese sculptural traditions. Its style closely parallels the donor figures found in Cave 7 of the Yungang Grottoes.
北魏時期佛教造像藝術在朝廷大力倡導下迅速發展,進入歷史性的鼎盛階段。此尊佛首即體現出云冈石窟早期風格的典型特徵,整體形制融合犍陀羅與笈多藝術精髓。此尊菩薩首肉髻高聳,眼窩深邃,鼻樑高挺,神情慈和寧靜,呈現一種剛健與柔和並存的莊嚴之感。石面經歲月侵蝕,風化自然,表層可見礦物沉積與古舊包漿,極具古樸質感,是西域造像融入东方元素的上乘之作。其風格可參照云冈石窟第七窟之供養天人造像。雲岡石窟位於中國山西省大同市雲岡區武州山南麓,開鑿於北魏興安二年(453年)至太和十九年(495年)間,是中國首座由皇室貴族主持開鑿的大型石窟群。全窟分為東、中、西三部分:東部多為佛塔造型的塔洞;中部以「曇曜五窟」最為宏偉,為雲岡最早開鑿、規模最大的核心洞窟;西部洞窟則多建於北魏遷都洛陽之後,風格稍有轉變。石窟依山而建,東西綿延一公里,共有主要洞窟51個(保存良好者約20個),分佈佛龕1100餘座,佛像總數逾五萬尊,最大者高達17公尺,最小僅2公分,顯示出北魏時期佛教藝術的盛況與精湛技藝,堪稱中國石窟藝術的巔峰之作。

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