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A FINE HARDWOOD FIGURE OF THE WATER MOON GUANYIN, SONG TO YUAN DYNASTY
奥地利
04月17日 下午5点 开拍 /20天8小时
拍品描述 翻译
China, 960-1368. Finely carved seated in royal ease atop a rocky base, clad in loose-fitting robes cascading in deeply carved folds and opening at the chest, the face with a serene expression marked by heavy-lidded downcast eyes, elegantly arched brows centered by a circular urna, a broad nose, and full lips forming a benevolent smile, flanked by long pendulous earlobes, the hair arranged in a high chignon. The back deeply hollowed with a large oblong aperture.Provenance: Collection of S. van der Velden, Delft, Netherlands, thence by descent.Condition: Good condition, commensurate with age, showing old wear, expected age cracks and splits with remnants of old fill, signs of former insect activity, losses, minute nicks, occasional small chips, extensive wear to gilt. Remnants of old varnish. The wood with a rich, naturally grown, lustrous patina.Weight: 1,112 gDimensions: Height 33.3 cmThis figure represents the Water Moon Guanyin, a subject frequently depicted in Buddhist paintings of the Song, Yuan, and Ming periods, but only rarely portrayed in sculpture. The royal ease pose conveys tranquility and withdrawal from the world, and was a popular sculptural formula between the 10th and 14th centuries. When seated in this pose, Guanyin is usually shown either as the White Robed Guanyin or the Water Moon Guanyin. In paintings, the White Robed Guanyin wears a simple robe with a scarf or shawl covering the head—often concealing the crown or topknot—and appears in a subdued landscape with a waterfall. The Water Moon Guanyin, by contrast, wears the conventional robes of a bodhisattva, adorned with jewels, and is set in a dense blue-and-green paradise, with coral and treasures, a moon above that often serves as a mandorla, and a pond below in which the moon is reflected. Even when sculptures lack their bases and surrounds, the two types are easily distinguished as the White Robed Guanyin is always veiled.The Water Moon manifestation is not described in the sutras but derives from the story of Sudhana—Shancai Tongzi in Chinese—who visits Guanyin in his mountain paradise. As told in the Gandavyuha Sutra (the Rufajie pin, the thirty-ninth and final chapter of the Avatamsaka Sutra), Sudhana, at the behest of Bodhisattva Manjushri, embarked on a pilgrimage to fifty-three teachers and bodhisattvas before attaining enlightenment. The twenty-eighth master he visited was Avalokiteshvara, or Guanyin, encountered in his residence atop Mount Potalaka, identified in China with Mount Putuo, an island off the east coast province of Zhejiang, which had become an important pilgrimage site. This encounter provided the textual source for the Water Moon iconography. In China, devotion to Guanyin spread through sutras, miracle tales, and legends, which linked the deity to water and the moon, evoking impermanence, reflection, and transformation.Auction result comparison:Type: Closely relatedAuction: Christie's New York, 20 March 2015, lot 771Price: USD 269,000 or approx. EUR 313,000 converted and adjusted for inflation at the time of writing: A polychrome wood figure of Avalokiteshvara, Song-Yuan dynastyExpert remark: Compare the closely related and manner of carving. Note the polychrome pigments and larger size (57.2 cm) including the tall base.

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