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A LARGE SANDSTONE FIGURE OF AVALOKITESHVARA, ANGKOR PERIOD, ANGKOR WAT STYLE, 12TH CENTURY
奥地利
04月16日 下午5点 开拍 /19天12小时
拍品描述 翻译
A LARGE SANDSTONE FIGURE OF AVALOKITESHVARA, ANGKOR PERIOD, ANGKOR WAT STYLE, 12TH CENTURY Gracefully carved, standing in samabhanga atop a pedestal, the four-armed deity is dressed in a short sampot neatly incised with parallel pleats, secured by a belt with double fish-tail folds falling to the front and a butterfly knot at the back. The gently rounded face with a serene expression, almond-shaped eyes, gently ridged brows, and delicately outlined lips forming a subtle smile, flanked by ears adorned with pendeloque earrings. The hair is arranged in a cylindrical topknot centered by a diminutive figure of Buddha Muchalinda and secured with a large foliate tiara.Provenance: From a private collection in Bergamo, Italy. Leonardo Vigorelli, Bergamo, Italy, acquired from the above. Leonardo Vigorelli, a retired Italian art dealer and renowned collector, once specialized in African and ancient Hindu-Buddhist art. With a background in anthropology and decades of travel and field research across India, the Himalayas, Southeast Asia, and Africa, he founded the prestigious Dalton Somaré art gallery in Milan, now managed by his two sons. Condition: Very good condition with expected wear, signs of weathering and erosion, encrustations, obvious losses, small chips, scattered nicks and scratches, and distinct remnants of ancient lacquer gilding.Weight: 61 kg (incl. stand) Dimensions: Height 123 cm (excl. stand), 129 cm (incl. stand)Mounted on an associated stand. (2)Powerfully and sensitively carved, this figure of Avalokiteshvara stands as a compelling example of Khmer sculpture from the era in which Angkor Wat was constructed. Although the temple itself was dedicated to the Hindu god Vishnu, Buddhist devotion flourished simultaneously in the region, supporting commissions executed in the very same ateliers that produced Hindu imagery.A unified aesthetic language characterizes Khmer art of this period, often described as syncretic in nature. Yet distinct iconographic markers consistently define each divinity. In the present case, the four arms and cylindrical chignon could initially suggest Vishnu, who shares comparable attributes. The decisive feature, however, is the small seated figure of Buddha Muchalinda nestled within the braided coiffure, which unequivocally identifies the subject as Avalokiteshvara.In addition to his role as an attendant to the Buddha, Avalokiteshvara became a powerful divinity of his own in Southeast Asia. Avalokiteshvara is the Bodhisattva of Compassion, and also the Protector of Mariners. While originating in India, this bodhisattva enjoyed particular popularity in areas outside of the subcontinent that were reached through maritime trade networks, such as Sri Lanka and Southeast Asia.The present figure is expertly modeled. The range of geometric and ornamental forms that decorate the garments and crown are testament to the complexity and detail of Khmer craftsmanship that persisted throughout the empire. The short sampot is arranged in multiple patterns, including tightly spaced vertical pleats enhanced by a fishtail fold, and loosely fanned diagonal waves from the right to the left thigh. A double-anchor fold bridges the thighs, the gathered fabric pulled snugly between the legs from the verso and then set in an elegant crest on back and front just below the top of the sampot. The whole arrangement is secured with a broad belt of double-links, and the upper hem of the garment stands slightly away from the torso.The chest is puffed as if the figure sips in a breath of prana, or sacred breath, and the body is slender with shoulders that are narrow from back to front as is typical for Angkor Wat period sculpture. The spine is erect and gently arched to emulate the naga, or sacred serpent, a symbol incorporated into Khmer imagery from Indic religion which became a governing principal at the core of Khmer visual and performing arts.The gently smiling face has bold features including almond-shaped eyes and full lips. The crown is expertly carved with a tremendous level of detail and variety, including bands of pearls, diamond shapes, and rosettes. The plaited locks are pulled up beneath the crown tightly against the head and piled in a cylindrical topknot. The miniature figure of Buddha Muchalinda, who is remarkably alert and lifelike, appears to be resting in the hair, carried compassionately by the bodhisattva.Literature comparison:Compare a closely related sandstone figure of the Bodhisattva Avalokiteshvara, Angkor Wat style, dated to the first half of the 12th century, 116.8 cm high, in the Norton Simon Museum, accession number F.1972.16.2.S.Auction result comparison: Type: Closely relatedAuction: Christie's New York, 17 March 2015, lot 36Price: USD 425,000 or approx. EUR 495,000 converted and adjusted for inflation at the time of writing: A sandstone figure of Avalokiteshvara, Khmer, Angkor period, Angkor Wat style, 12th centuryExpert remark: Compare the closely related subject, modeling, and similar pleating of the sampot and styling of the hair. Note the smaller size (76.1 cm).Auction result comparison: Type: Closely relatedAuction: Christie's New York, 21 March 2019, lot 1107Price: USD 212,500 or approx. EUR 230,000 converted and adjusted for inflation at the time of writing: A sandstone figure of a male deity, Khmer, Angkor period, Angkor Wat style, 12th centuryExpert remark: Compare the closely related subject, modeling, and similar pleating of the sampot and styling of the hair. Note the smaller size (71.2 cm).

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