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THE PRIESTLEY-FERRARO 'SEVEN BUDDHAS OF THE PAST' JADE BOWL, QIANLONG PERIOD
奥地利
04月16日 下午5点 开拍 /19天11小时
拍品描述 翻译
China, 1736-1795. The deep vessel with thick sides rising from a rounded base is richly carved in high relief on the exterior to depict seven Buddhas seated in dhyanasana on a lotus throne with hands lowered in dhyana mudra, each framed by a mandorla and halo, their faces rendered with serene expressions flanked by heavy earlobes. The stone is of an elegant pale gray tone with lustrous blackish-brown patches and veins as well as cloudy white inclusions.Provenance: An old French private estate. Christie's Paris, 12 December 2018, lot 153. Priestley & Ferraro Chinese Art, acquired from the above. The base with two labels, one from Christie's '16245 lot 153', the other from Priestley & Ferraro Chinese Art number '282'. Priestley & Ferraro Chinese Art was a London-based dealership founded in 1994 by David Priestley and Benedicta Ferraro, specializing in early Chinese art for nearly three decades. David Priestley studied Song dynasty ceramics under Mary Tregear at Oxford before joining Sotheby's London, where he served as a specialist in the Chinese Department. The gallery focused particularly on Song ceramics, lacquer, and jade, and was a regular participant of Asian Art in London and Asia Week New York. Condition: Very good condition with minor ancient wear. The stone with natural fissures, few of which have developed into thin hairline cracks.Weight: 1.3 kg Dimensions: Diameter 13 cmThe seven Buddhas represented here are the seven historical Buddhas of this world, namely, Vipashyin, Shikhin, Vishvabhu, Krakucchanda, Kanakamuni, Kashyapa, and Shakyamuni. They are often referred to as The Seven Buddhas of the Past and are a group of enlightened beings revered in Buddhist tradition as predecessors of the historical Buddha, Shakyamuni. They represent successive manifestations of awakening across cosmic time, affirming the continuity and universality of the Buddhist path. Together, they embody the timeless transmission of wisdom, moral discipline, and compassion. In Buddhist art, the Seven Buddhas are often depicted as a unified assembly, symbolizing doctrinal lineage, spiritual legitimacy, and the eternal renewal of enlightenment across successive worlds.The theme of the Seven Historical Buddhas was among the Qianlong Emperor's favored subjects. In 1770, he composed an essay on the Seven Buddhas to be inscribed on a tablet for the newly completed Seven Buddha Pagoda Pavilion outside the Forbidden City; see The Eulogy on the Seven-Buddha-Tower Pavilion (Qifuota bei ji), recorded in the Second Compilation of Imperial Writings, juan 30. In this essay, the Emperor recounts how a Tibetan scroll presented as tribute by the Panchen Lama sparked his interest in the Seven Buddhas, prompting him to consult various sutras and seek guidance from learned authorities, including his religious mentor, Changkya Rolpai Dorje. Through this research, he traced the lineage of the Seven Buddhas, which he then set out in detail. The construction of the pavilion served to commemorate this inquiry and reflects the high esteem in which he held the subject.In the Tang dynasty, the poet Pi Rixiu (c. 834-883) composed a poem on a green stone alms bowl in the Kaiyuan Temple, supposedly once used by the Buddha himself, which somehow found its way to China. Having read the poem, the Qianlong Emperor made a special request to see this bowl when he visited the temple on his first Southern Tour. He was apparently very taken by the simple and archaic form of the bowl and ordered to have an aloeswood example made when he returned to the capital. In 1758 (Qianlong bingyin year) he composed the poem On an Aloeswood Alms Bowl to commemorate this event, giving details in a footnote:“Pi Rixiu's poem recorded in detail the alms bowl in the Kaiyuan Temple. I asked to see it and composed on it last year during the Southern Tour, and ordered for it to remain in the temple. I am fond of its archaic form and asked a fine craftsman to make one in aloeswood accordingly. (Second Compilation of Imperial Poems, juan 75)”In 1786, he composed another poem titled On a Seven-Buddha Bowl of Khotan Jade, with a very informative footnote:“Although the alms bowl in the Kaiyuan Temple is not made of green stone, it is of archaic and elegant form. Upon returning I ordered a fine craftsman to make one using aloeswood, and inscribed on it with the names of the Buddhas and psalms furthermore, because aloeswood is not as durable as jade, I ordered to have this jade alms bowl made so one can pay tribute to it forever. (Fifth Compilation of Imperial Poems, juan 27)”In the same year, the Emperor ordered the Suzhou imperial jade workshop to carve Seven-Buddha alms bowls from jades, explaining the reason for remaking the bowl in a more durable material. The present bowl is most likely one of the alms bowls produced during that time. The fact that many other examples of Seven-Buddha alms bowls in various other mediums exist, besides jade chiefly in wood and lacquer, further demonstrates Qianlong's fondness of this subject.Literature comparison: Compare a closely related white jade bowl depicting the same subject, similarly bearing no inscriptions, in the Palace Museum, Beijing, illustrated in The Complete Collection of the Treasures of the Palace Museum - Jadeware (III), Hong Kong, 1995, p. 146, no. 118. A celadon jade alms bowl with the name and psalm of each Buddha inscribed on the exterior in the Summer Palace (Yiheyuan) Collection, is illustrated in The Summer Palace Collection, Beijing, 2000, p. 53. Compare a closely related blue-dyed and gilt-decorated jade alms bowl depicting the same subject, 18.5 cm diameter, engraved with the Qianlong Emperor's 'Seven-Buddha Bowl' poem composed in 1786, in the Palace Museum, reference number故00203592. Compare a closely related wood bowl depicting the same subject, dated by inscription to 1758, in the Palace Museum, reference number 故00120860. Compare a related jade alms bowl for a Buddhist monk, similarly carved in high relief with bodhisattvas, dated to the Qianlong period, 14.3 cm diameter, formerly in the collection of Heber Bishop and now in the Metropolitan Museum of Art, object number 02.18.622.Auction result comparison: Type: Closely related Auction: Christie's New York, 13 September 2019, lot 844 Price: USD 237,500 or approx. EUR 258,000 converted and adjusted for inflation at the time of writing : A rare and large mottled dark green jade alms bowl, Qianlong period Expert remark: Compare the closely related form, manner of carving, and subject. Like the present bowl, this example bears no inscriptions. Note the green-colored stone and the size (24 cm).Auction result comparison: Type: Closely related Auction: Christie's Hong Kong, 29 November 2024, lot 1430 Price: HKD 4,536,000 or approx. EUR 519,000 converted and adjusted for inflation at the time of writing : An Imperial inscribed spinach-green jade 'Seven Buddha' alm's bowl, Qianlong incised bingwu yubi mark, corresponding to 1786 and of the period Expert remark: Compare the closely related manner of carving and subject. Note the incurved sides, spinach-green stone, inscriptions and mark, and size (26 cm).Auction result comparison: Type: Related Auction: Christie's London, 15 May 2007, lot 186 Price: GBP 144,000 or approx. EUR 278,000 converted and adjusted for inflation at the time of writing : A very rare Imperial inscribed aloeswood 'Seven-Buddha' bowl, incised Qianlong bingwu date, corresponding to 1786 Expert remark: Compare the closely related subject. Note the different material, inscriptions and mark, and size (23 cm).

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