| 中文版 English
书画 陶瓷 玉石 佛造像/唐卡 金属器 家具 漆器 竹木牙角 紫砂 鼻烟壶 钱币邮品 名酒 奢侈品 其它
Calendar
Today
< >

具体要求

其它要求

-
关闭
全球拍卖首页 > Galerie Zacke > 精美亚洲艺术品夏季拍卖会 > Lot 0383
A BRONZE 'THREE-HEADED EAGLE' SHAMANISTIC PLAQUE, FINNO-UGRIC, PERM REGION, 10TH-11TH CENTURY
奥地利
06月30日 下午5点 开拍 /9天4小时
上一件 下一件
拍品描述 翻译
A BRONZE 'THREE-HEADED EAGLE' SHAMANISTIC PLAQUE, FINNO-UGRIC, PERM REGION, 10TH-11TH CENTURYExpert's note: Commenting on a group of Permian bronze plaques depicting a bird with spread wings and a human face on the torso, Finnish archeologist Applegren-Kivalo published in 1912 a study which suggested that this motif had its origin in ancient Greece' illustration of the myth of Ganymede. However, it is more likely that this iconography actually depicts a shaman in a trance-like state wearing a bird's costume. In Finno-Ugric cultures the eagle represents a totemic symbol of the elevation to the Upper World.Russia, Western Siberia. In the form of a three-headed eagle shown frontally with outstretched wings, the central avian head rises above a tapering, elongated body flanked by two smaller profiles, each cast with a sharply hooked beak and incised circular eye. The wings are defined by comb-like terminals. The body is incised with a mask-like anthropomorphic face, articulated through punched circular eyes and a small oval mouth. The torso and wings are further structured by vertical bands. A loop to the back.Provenance: From the collection of Martin Doustar, Brussels. Martin Doustar is a Brussels-based art dealer and collector whose career spans more than two decades. He began his professional journey in the early 2000s with a focus on Modern Art, developing a keen interest in the ways early twentieth-century artists were influenced by 'primitive' art from Africa and Oceania. Over time, his connoisseurship expanded into archaeological and ethnographic fields, with particular expertise in the ancient arts of the Pacific, Africa, and pre-Columbian America, while also encompassing Asian material culture and modern masterpieces. He is the author of numerous scholarly catalogues and has organized thematic exhibitions on a wide range of subjects.Condition: Very good condition with expected wear, casting irregularities, tiny nicks, light surface scratches. The bronze with a rich, naturally grown patina with malachite encrustations.Weight: 139 g (excl. stand), 262 g (incl stand)Dimensions: Height 10.6 cm (excl. stand), 13 cm (incl. stand)The present plaque belongs to the enigmatic corpus of Permian animal-style bronzes produced across the forest zones of the north-eastern Urals and western Siberia, extending from the Kama and Vyatka basins to the Ob River region. Generally dated between the 3rd and 12th centuries AD, these works are associated with Finno-Ugric and Ugrian cultural spheres, including the ancestors of the Khanty and Mansi peoples, and are best understood not as mere ornaments but as potent ritual images. Scholars have long emphasized the formative influence of the Scytho-Sarmatian animal style on the Perm region, particularly in its preference for dynamic zoomorphic forms and a compressed, emblematic visual language adapted to local cosmological frameworks.Archaeological and ethnographic evidence from the Ob River Basin and surrounding territories further suggests that such bronzes were intimately connected to sacred landscapes, especially forest sanctuaries in which metal objects were deposited over successive generations as offerings to tutelary spirits. These sites, some of which retained ritual significance into the modern era, have yielded substantial accumulations of bronze and silver artifacts alongside traces of local metalworking, pointing to a complex interplay between production, circulation, and votive deposition. Within this context, plaques of the present type functioned as charged cult images, embodying protective, ancestral, or cosmological forces rather than serving purely decorative ends.Iconographically, the plaque aligns with a well-established group of bird-form figures, often identifiable as eagles or hawks, in which avian imagery is combined with anthropomorphic elements, such as the mask-like face integrated into the body of the present example. In the shamanistic belief systems of Siberian peoples, birds occupy a privileged role as intermediaries between cosmic realms and may be understood within the broader framework of cultic toreutics. Their ability to traverse the upper (celestial), middle (human), and lower (chthonic) worlds endowed them with particular symbolic potency. The multiplication of heads, as seen here, may be interpreted as a visual amplification of this liminal capacity, suggesting a being of heightened perception and supernatural agency. Such imagery resonates more broadly with northern Eurasian mythologies of the “thunder bird” or celestial raptor, whose deep antiquity has prompted hypotheses of transmission across wider circumpolar cultural zones.The attribution to the Ob River Basin is further supported by parallels with material associated with the Kulai cultural horizon and its subsequent transformations, spanning from the mid-first millennium BC into the early medieval period. Although the precise cultural and chronological boundaries remain subject to scholarly debate, the persistence of animal-style metalwork in the region, together with evidence of long-distance exchange, including imported Roman objects, underscores the dynamic and interconnected character of the forest-zone societies of the Urals and Western Siberia. Notably, in his 1912 study of Permian bronze plaques depicting birds with outspread wings and human faces on their torsos, the Finnish archaeologist J. R. Aspelin (often referred to in this context as Appelgren-Kivalo) proposed that this hybrid motif may ultimately derive from ancient Greek representations of the myth of Ganymede, suggesting an early attempt to situate these images within a broader framework of cross-cultural artistic transmission.Literature comparison:Compare a closely related three-headed bird bronze plaque with a mask on its chest, Perm Region, dated to the 8th-9th century, in the Teploukhov Collection. Compare a related bronze bird from the Perm Region, dated to the 6th-9th century, 8.3 cm wide, in the State Hermitage Museum, St. Petersburg, museum number 571-206. Compare related bird bronze plaques from the Perm Region, illustrated in Eugene A. Golomshtok (1934), Bronze Bird Figures from Russia, Museum Bulletin V, no. 2, plate IV.

本场其它拍品

  • 竞价阶梯
  • 快递物流
  • 拍卖规则
  • 支付方式
竞价区间 加价幅度
0
10
50
50
600
100
1,600
200
4,000
500
8,000
1,000
16,000
2,000
40,000
5,000
80,000
10,000
160,000
20,000
+

委托价 （已有0次出价）

欧元
电话提醒

价格信息

拍品估价：2,000 - 4,000 欧元 起拍价格：2,000 欧元  买家佣金：

拍卖公司

Galerie Zacke
Galerie Zacke
地址： Sterngasse 13, 1010 Vienna, Austria
电话： 0043-1-5320452
邮编： 1070
向卖家提问

小贴士

1. 一般拍卖公司接受的付款方式有以下几种：
现金、信用卡、转账汇款、银行支票、个人支票以及PayPal支付。
使用PayPal支付时，请留意需要在账单金额的基础上额外加上 4% 的手续费。
2. 信用卡的种类有以下几种：
3. 转账汇款时请注意银行手续费
海外拍企会要求足额到账，所以请您在汇款时，选择足额到账，或在汇款金额的基础上加上汇款手续费（如25美金）。
4. 国际转账汇款时， 您需要知道海外拍卖行以下汇款信息：
* 收款人名称
* 收款人地址
* 收款人银行账号
* 收款银行国际编码（8位字母数字组合，必填项， 如： BFKKAT2K）
* 收款银行清算码（9位数字组合，选填项）
* 收款银行名称
* 收款银行地址
5. 运输相关事项
有的海外拍卖行会替您安排和协调运输， 您只需要支付相关的运费及保险费（如您需要）即可；有的海外拍卖行会推荐几家长期合作的运输公司， 这些运输公司有着良好的信誉和高质量的工作效率，您大可放心。您只需要提供您的收货地址， 竞得拍品账单。 运输公司会根据您提供的信息给您报价， 您可以在其中选择最优的报价者来承担运输任务。然后就是付款了， 信用卡是最常用的支付手段， 当然还有其他像PayPal，转账等。
6. 进口通关可能出现的关税
国际运送的包裹在进口清关过程中如需支付关税，需由包裹接受人（即买家）自行承担。 征收标准：具体征收标准和额度以海关通知和解释为准。
7. 禁拍拍品
海外拍卖会可能会出现中国法律禁止交易的物品，如枪支、管制刀具、象牙、犀角等；中国买家不得通过本平台参与上述物品的拍卖活动；任何情形下，买家均须对自己的竞拍行为独立承担责任。
服务热线：400-608-1178
查看全部小贴士