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A LARGE GILT-BRONZE FIGURE OF PADMAPANI AVALOKITESHVARA, NEPAL, 18TH CENTURY OR EARLIER
奥地利
06月30日 下午5点 开拍 /9天3小时
拍品描述 翻译
Finely cast standing in tribhanga, her right hand lowered in abhaya mudra and left raised in shuni mudra, a lotus stem coming to bloom at her shoulder. The deity is adorned with beaded armlets and a necklace with pendent jewels, wearing a short dhoti falling in elegant pleats to the center, a sash going across the thigh falls in elegant folds to the sides. The full rounded face with a serene expression marked by sinuous eyes below arched brows centered by a third eye, a fine aquiline nose, and pursed lips forming a gentle smile, flanked by ears suspending large circular earrings. The hair modeled in an elegant chignon with locks trailing to curly tips at the shoulders, all crowned by a tall foliate tiara.Provenance: Estate of Dr. James Francis Gordon Bynon, England. Chalkwell Auctions, Southend-on-Sea, 13-14 June 2018, lot 663 (dated “understood to be 18th Century or earlier”), sold for GBP 15,500 or approx. EUR 24,000 converted and adjusted for inflation at the time of writing). The collection of Kristen Tomassi and Axel Dieter Ball, Mallorca, Spain, acquired from the above. Dr. James Francis Gordon Bynon (1925-2017) was a British linguist and Lecturer in Arabic and Berber at the School of Oriental and African Studies (SOAS), University of London. An academic specializing in Berber languages and North African cultures, Bynon was best known for his extensive fieldwork among the Ayt Hdiddu tribe of central Morocco and his contributions to descriptive linguistics within cultural contexts. Kristen Tomassi, an architect and designer based in Mallorca, was married early in her life to Richard Branson, who was already rising to prominence with Virgin Records. Her enduring partnership was with German entrepreneur and architect Axel Dieter Ball (1942-2026), with whom she co-founded La Residencia in Deià in 1984. The hotel, a family-run haven celebrating art and music, helped shape the luxury hotel scene of Mallorca, where the couple spent most of their lives together until Axel sadly passed away this year. Together, they built an impressive collection of Himalayan art throughout the 1980s and 1990s, purchasing pieces from renowned dealers and auction houses including Rossi & Rossi, David Tremayne, Annapurna, Sotheby's, and Christie's. Objects formerly in their collection have been exhibited by the Museum of Asian Art, Hong Kong, and the Art Institute of Chicago, featuring also in the exhibition catalog by Pratapaditya Pal et al., Himalayas - An Aesthetic Adventure (2003).Condition: Very good condition with expected wear and casting irregularities, few minute dents, tiny nicks, light surfaces scratches, rubbing and minor losses to gilt. The bronze with a rich, naturally grown, warm patina.Weight: 3 kg Dimensions: Height 42.5 cm Avalokiteshvara, the "Lord who looks upon the World," is the bodhisattva of compassion, and one of the principle deities in Mahayana Buddhism. Although he has attained enlightenment like the Buddha, the bodhisattva forgoes his escape from the suffering of rebirth to act as a guide to all living beings until they themselves have achieved nirvana. Worshipped in many guises, here he is depicted as Padmapani, the "holder of the lotus." Like the lotus, which rises from its murky bed below the water to blossom in the air, Padmapani has detached himself from the pain and impurities of the material world and is enlightened in body, speech, and mind.Worshiped in Nepal from at least the mid-6th century, Avalokiteshvara was one of the most popular Buddhist deities in the Kathmandu Valley, his worship rivaling that of the Buddha himself. With time, the compassionate characteristics of Avalokiteshvara became intertwined with the attributes of the local Nepalese deities such as the rain god, Bunga-dyo, and even the Brahmanical Shiva, and the customs for worship of these different gods were integrated into one another. Demand for images of this auspicious bodhisattva was therefore staggering, and from an early period, craftsmen throughout the valley were executing works in wood, stone, paint, and bronze. A distinct Newari style of representation emerged from this locus of fervent worship, influenced initially by the Gupta dynasty and later, as seen in this work, the Pala dynasty of Northeastern India. The deity is almost always depicted standing, in contrast to the post-Guptan Indian tradition of showing him seated. The style is further characterized by the lithe form of the body and the gracefully swaying hips. The folds of the dhoti, simply patterned with stippling, hang between the legs and are secured diagonally across the hips with a sash, while the sacred thread extends almost to the knee.

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