| 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 > Christie's > 印度、喜马拉雅及东南亚工艺精品 > Lot 371
A RARE GILT-BRONZE FIGURE OF BUDDHA RATNASAMBHAVA
美国 北京时间
2019年09月12日 开拍 / 2019年09月12日 截止委托
上一件 下一件
拍品描述 翻译
NEPAL, 17TH-18TH CENTURY 18 1/8 in. (45.9 cm.) high Private colletion, Germany, by 1973; thence by descent. At first glance, this magnificent gilt-bronze figure may seem to depict the historical Buddha Shakyamuni. However, the right hand turned towards the observer in the gesture of granting wish or varadamudra identifies this figure as the transcendent Buddha Ratnasambhava, the "jewel-born". Ratnasambhava is a ubiquitously represented tathagata associated with the South. Ratnasambhava is the father of the Jewel family of Vajrayana Buddhist deities, associated with the element of earth, and the enlightened activity of equanimity. He is often pictured with the other four tathagata buddhas—Akshobya of the East, Amitabha of the West, Amoghasiddhi of the North, and Vairochana of the Central direction. These primordial buddhas all bear an appearance like that of the historical Buddha Shakyamuni, unadorned, in the garb of an ordained monk. Himalayan Art Resources, item no. 24530. A Tibetan-style Nepalese figure of Buddha Ratnasambhava by Michael Henss According to stylistic criteria, Buddha figures are often not easy to classify chronologically. The formal characteristics of "classical" Shakyamuni sculptures, such as the current work, change only slightly over long periods of time, especially since the ateliers of Nepalese artists often adhere to ancient traditions. Often, the design of the lotus base (if intact) gives precise or additional clues to dating. For the current lot, physiognomic details, the style of the folds in the robes, and the appearance of a baseplate mounted on a throne base and cast together with the figure, make an origin in the later seventeenth or earlier eighteenth century probable. In addition to the iconographic and stylistic features, some technical peculiarities also deserve attention. The statue was probably cast in one piece, i.e. together with the head, which in larger sculptures is usually made separately in the hollow casting process (cire perdue technique) and only later, covered by the final gilding, connected to the body. This could only be determined by a technical examination (radiography, tomography). The lotus pedestal, no longer intact, was probably made of wood or clay, in the latter case in firm connection with a temple altar, the probably original context of this statue. The narrow baseplate was attached to the former lotus throne as still clearly visible with eight bolt-holes. A similar pedestal technique is also known from other Buddha figures of a larger format from the seventeenth or eighteenth century, which are also stylistically comparable. After the sculpture was separated from its original base, it was sealed again at a later time with a copper baseplate and filled with various consecrated materials, per tradition. This practice, which is common for Buddhist statues and brings spiritual and religious merit, may have taken place on the occasion of a new consecration if the figure was damaged or dislocated. Also per tradition, the baseplate of the final consecration should not be opened for profane or even scientific reasons. As such, a special radiographic or tomographic analysis can be helpful to identify the casting technique and the consecration materials within. However, the relatively large size of the object may present challenges for such investigations. The considerable weight (approximately 25 kg) indicates a rather thick-walled casting, a characteristic feature of other heavy statues from the seventeenth or eighteenth century. On the back side, the figure has two small areas of damage, probably original casting flaws: at the base of the throne, and a few small missing parts, indicating a solid filling of the base. According to the characteristic tradition of Nepalese artists, this Buddha was fire-gilt. Fire-gilding has been a historically predominant technique in Nepal, and introduced to Tibet at a very early period. To do this, gold powder was mixed with mercury to form a paste, which was then burned into the metal surface under the influence of heat. To save costs, the reverse of the statue was not gilded, as it was visible only for worship from the front. Only there the copper-rich brown-red alloy (approximately 85-95% copper content) becomes visible, while in Tibet and China, completely gilded sculptures mostly consist of brass alloys with a reduced ~80% copper content).

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
100
50
500
100
1,000
200
2,000
250
5,000
500
10,000
1,000
20,000
2,000
50,000
5,000
100,000
10,000
+

价格信息

拍品估价：400,000 - 600,000 美元 起拍价格：无  买家佣金：
落槌价 佣金比率
0 - 150,000 25.00%
150,000 - 3,000,000 20.00%
3,000,000 - 以上 12.00%
服务费：平台服务费为成交总金额（含佣金）的3%

拍卖公司

Christie's
Christie's
地址： 20 Rockefeller Plaza New York
邮编： NY 10020
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