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全球拍卖首页 > Christie's > 印度、喜馬拉雅及東南亞工藝精品 > Lot 718
AN IMPORTANT GILT-COPPER FIGURE OF PADMAPANI LOKESHVARA
美国 北京时间
2020年09月25日 开拍 / 2020年09月23日 截止委托
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拍品描述 翻译
NEPAL, 13TH CENTURY 16 ? in. (41.9 cm.) high Property of Dr. & Mrs. Howard Balensweig; Sotheby's New York, 23 March 2000, lot 49. The present figure is a paragon of Newari gilt-copper imagery, dated to the earliest years of the Malla period, which is widely considered the high point of Nepalese art. The Newaris, the traditional inhabitants of the Kathmandu Valley, were the master metal casters of the period, and their services were patronized far and wide, including at the imperial workshops of the Yuan dynasty in Beijing. According to the characteristic tradition of Nepalese artists, the present image was gilt through a technique called fire-gilding. In this process, the artist mixes gold powder with mercury to form a paste, which was applied and fused to the metal surface under the influence of heat. Such a technique, while dangerous, results in the rich, shimmering gilding visible on the present sculpture. The metal surface below the gilding has an extraordinarily high copper content, another characteristic of Newari metal images, which lends it a soft, warmish brown patina. The present figure depicts a form of the bodhisattva, Avalokiteshvara, known as Padmapani Lokeshvara, the “lord that holds the lotus.” Avalokiteshvara, the “Lord who looks upon the world,” is the bodhisattva of compassion, and one of the principle deities in Mahayana Buddhism. His compassionate nature inspired levels of worship among the masses to rival that of the Buddha himself. 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, the Padmapani form, in which he holds the lotus, is perhaps the most popular in Nepal. Like the lotus, which rises from its murky bed below the water to blossom in the pristine air, Padmapani has detached himself from the pain and impurities of the material world and is enlightened in body, speech, and mind. The development of Padmapani images in Nepal can be traced to as early as the sixth century CE, with a style that closely followed the Gupta ideals developed around the Buddhist center of Sarnath. Standing figures display the elegant S-shaped posture known as tribhanga, and drapery is diaphanous and close-fitting, revealing the lithe form of the body beneath. Most of the early Nepalese images of Padmapani Lokeshvara were carried out in stone, with images in copper appearing in the late Licchavi period in the seventh to eighth centuries. In contrast to the post-Gupta Indian tradition of depicting him seated, in Nepal the deity is almost always shown standing. While the early copper images of Padmapani Lokeshvara from the Licchavi and following Thakuri periods exhibit an attempt at the dynamic Sarnath style, there is something of a rigidity to the form; see, for example, a tenth-eleventh-century gilt-copper figure of Padmapani Lokeshvara in the collection of the Metropolitan Museum of Art (acc. no. 1989.51), which displays only a hint of the tribhanga pose. The Met example also has tubular limbs and only minimal definition of musculature. The transition from the Thakuri period to the early Malla period around the twelfth century witnessed a stylistic progression towards a more defined musculature and exaggerated tribhanga pose, undoubtedly influenced by the art of the neighboring Pala Empire. Some of these developments can be found in another example at the Metropolitan Museum of Art (acc. no. 1982.220.2), a large gilt-copper figure of Padmapani Lokeshvara dated to the eleventh-twelfth century. In this figure, one can see the more exaggerated sway of the hips and tilt of the torso, and increasingly muscular upper arms and thighs. The present work is a masterful representation of the fully-developed early Malla style. The figure stands with his weight on his right leg, with the left knee slightly bent. The shoulders are rolled back, revealing the solid torso, and the head is cocked in an elegant pose. The short dhoti is unadorned, but is embellished by the flourishing folds of fabric, which are suspended between the legs and at the proper left thigh. The beaded sacred thread hangs languidly from the shoulder, and falls across the bulging thigh. Foliate-shaped armlets adorn the upper arms, and gem-inlaid pendants are suspended from the beaded torc at the neck. The downcast face is centered by a small, bow-shaped mouth and aquiline nose below heavy-lidded eyes and sharply arched brows. The forehead is distinguished by the prominent urna, which is represented as a vertically-oriented rectangle. Above, the bodhisattva wears an elaborate tiara, with five foliate petals of varying size and design. The central petal emerges from the top of a Garuda head with gaping mouth, from which a gem may have been suspended. The shallow channel between the two bands of beads below the Garuda head may have once held a string of seed pearls, further embellishing the figure in finery. The tiara is flanked on either side by elaborate flared ties that resemble wings, a development of the early Malla period Compare the present work with a similarly-sized example at the Rubin Museum of Art (acc. no. C2005.16.8), dated to the thirteenth-fourteenth century. Both the Rubin example and the present work share the same muscular physiognomy characteristic of the early Malla period: broad shoulders above a well-defined chest, powerful upper arms and thighs, and shins delineated with an angular sharpness. The hair in both examples is piled up in a high chignon, the strands elegantly intertwined, with a row of curls framing the face below the tiara, and long, luxuriant locks flowing down to the shoulders. The treatment of the lotus at the shoulder is also similarly rendered across both examples, with individualized, tiered petals around a raised seed cup; the present work is distinguished, however, by the incised indication of the individual seed pods.

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拍品估价：2,000,000 - 3,000,000 美元 起拍价格：2,000,000 美元  买家佣金：
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