Jin Hui Shengshi Elegant Charm - Appreciation of Buddhist Art Masterpieces丨China Guardian 2024 Spring Auction

The China Guardian-Zhantanlin Buddhist Art Collection has gone through more than ten years. In the past ten years, we have learned and grown together with all collectors, peers and many Himalayan art lovers, and witnessed the rapid development and prosperity of Himalayan Buddhist art in China.

The China Guardian 2024 Spring Auction of Buddhist Art has carefully selected more than 100 pieces of Buddhist art, including representative statues of Chinese dynasties, masterpieces of the Qing court, and high-quality statues and paintings from Nepal, Tibet and other regions, fully demonstrating the unparalleled extraordinary charm of Himalayan art. We look forward to walking with you into a unique place of mystery and beauty.

Lot 965

12th century

Bronze gilt Amitabha

19.2 cm.high

Source: Beijing Auction, 6 June 2016, Lot 7379, sold for 5.52 million yuan.

著录:《斯皮尔曼收藏-佛教艺术品》（A & J Speelman- Buddhist Works of Art），©Speelman London，1998 年，14-15页，图6。

The Liao was a regime established by the Khitan, a steppe people, who ruled northern China for more than 200 years (916-1125 AD), and was one of the few non-Han Chinese dynasties in East Asian history to govern and worship Buddhism. In order to gain a foothold in the Han Dynasty after the founding of the Liao Dynasty, its ruling class, the Khitan royal family, converted from shamanism to Buddhism, and the emperors began with Taizong, and the Holy Sect, Xingzong and Taoist Sects all vigorously supported Buddhist cultural undertakings. And the Tang Dynasty aristocratic scholastic Buddhism was inherited by the Khitan Dynasty, Tantra, Huayan Sect are developed, in the statue theme is very rich, not only the Buddha, Bodhisattva, Arhat and Lux and other traditional themes, but also the Esoteric Buddhism of the five directions, the eight Bodhisattvas and other themes, a true and comprehensive reflection of the Liao Dynasty Buddhist thought flourishing scene. Its statue style inherits from the Central Plains statues from the late Tang Dynasty to the Song Dynasty, and the themes of the hand-me-down works are also very rich, such as Buddha, Bodhisattva, Arhat, Waiter, Heavenly King, Flying Heaven and other themes are presented.

This Liao Dynasty Standing Buddha is the old collection of Mr. Sherman, a famous British Buddhist art collector. The Buddhist statues of the Liao Dynasty, like the Song Dynasty, inherited the traditions of the Tang Dynasty, so it is easy to find the characteristics of the Tang Dynasty in the works. If the face of the deity is plump, with a round and bulging face, and the expression is solemn, you can see the legacy of the Tang Dynasty. The flesh bun on the top of the head is gentle, the front of the spiral hair is inlaid with beads, the curvature of the eyebrows is slightly slower than that of the Tang statue, the eyes are thin and flat, and the chin is short, all of which are the appearance characteristics of the Khitan people; The shoulders are broad, and the body is no longer round and full as in the Tang Dynasty, but relatively long and flat, but with obvious pectoral muscles; Wearing a topless robe, a long skirt on the bottom, standing straight with both legs, straightening up with both knees, and stepping on a small lotus flower on each foot, it looks majestic and imposing under the backdrop of the square high platform Sumeru, which is the standard type of the statue of the Buddha and the Bodhisattva in the Liao Dynasty. There are small rivets on the back and back skirt of the main figure, which were originally supposed to be used to fix the headlight and backlight. For a similar standing statue of Amitabha, see a 13th-century portrait of Amitabha at the Metropolitan Museum of Art in the United States (Fig. 1).

Figure 1

The Buddha holds the sutra scroll in his left hand, and the index finger and middle finger of his right hand are bent to form a seal, which has been speculated to be the deformation of the fearless seal in the paper "The Buddhist Monk Guanyin of the Miaoxiang Buddha Kingdom" written by Professor Li Yumin of the National Palace Museum in Taiwan, and there should be a meaning of the statement; another explanation may be the deformation of the Tantric Demon Suppression Seal-Period Ke Seal. Considering that he holds the scroll in his left hand, it may be more plausible to make a Dharma seal here, but in any case, the holding and mudra of this deity are extremely rare in Buddhist statues throughout the ages. The same handprint Buddha statue can refer to a seated statue of Amitabha Buddha in the old collection of the Qing Palace, and the posture of the hands is the same as that of the deity, which was included in the "Palace Museum Collection - 200 Buddha Statues You Should Know" published by the Palace Museum in 2007 and published by the Forbidden City Publishing House. In addition, Zhang Shengwen of Dali at the same time as Liao painted the Buddhist monk Guanyin in the "Sanskrit Statue Scroll" also applied the same handprint.

Fig.2 Seated statue of Amitabha Buddha 20.6cm Old collection of the Qing Dynasty (left)

Fig.3 Partial picture of the Sanskrit monk Guanyin statue of Dali Zhang Shengwen's "Sanskrit Monk Volume" (right)

Judging from the existing Buddhist statues of the Liao Dynasty, the craftsmen and artists of the Liao Dynasty did not inherit the tradition of the Tang Dynasty immutably, but digested and absorbed its essence, and then recreated it, giving the old style new vitality and vitality, forming a unique and independent artistic style of the Liao Dynasty. The essence of the Buddhist statues of the Liao Dynasty, we can also refer to the Fengguo Temple in Yixian County, Jinzhou, Liaoning, and the Xiahuayan Temple in Shanxi.

See: Beijing 2015 Autumn Auction, Lot 7341, Liao Guanyin Bodhisattva Standing Statue, sold for 8.395 million yuan.

Lot 936

Kangxi of the Qing Dynasty (Imperial Palace)

Silk Yama Luo Wang Zun Tian Water and Land Painting (Prince Heshuozhuang made sincerely)

173x91.5 cm.

Style: "The Prince of Hezhuang is sincere", "The King of Mora is respectful"

Seal: Prince Zhuang's treasure

This land and water painting is based on the name on the upper right of the picture, depicting the main deity of "Yamamara King Zuntian", and the lower right has the traditional Chinese characters of "和碩莊親王發心sincerely 造". Prince Heshuozhuang is one of the twelve "iron hat kings" of the Qing Dynasty, eight of whom were canonized because of their military exploits at the beginning of the establishment of the Qing Dynasty. The lineage had two titles, the early period was Shuosai and Boguoduo, from the eighth year of Shunzhi (1651) to the twelfth year of Shunzhi (1655), and the title was "Prince Chengze" during this period. In the second period, Bo Guoduo was the last Prince Zhuang. Volume 54 of "Records of the Ancestors of the Qing Dynasty" contains "Zongrenfu inscription, Prince Shuo Chengze Shuo Saizi Bo Guoduo, please attack Prince Heshuo Chengze, and say: Bo Guoduo is crowned Prince Heshuo Zhuang", this title has been extended to the end of the Qing Dynasty. This painting should be one of a series of Buddhist offering paintings for the first Prince of Heshuo Zhuang Bo Guoduo (1650-1723) to draw the palace office, the series of paintings is not much in existence, only more than ten pieces of public and private books remain, but the style of the group is obvious, all in the name of the book deity in the gold box, and on the lower edge of the painting ink script "Prince Heshuo Zhuang is sincere", and the seal of "Prince Zhuang Bao".

The image of Hades in "Twenty Heavens" or "Twenty-Four Heavens" has been completely sinicized. For example, in this painting, King Yamamara is in the center, with thick eyebrows and huge eyes, ink-colored beard fluttering in the wind, wearing a green dragon-patterned robe inside, a dragon-patterned ink-black robe outside, holding a jade wat in both hands, the facial features and robe patterns are clearly depicted, the brushstrokes are delicate, and at the side of the king of Yamamara are followed by two retinues who describe the viciousness and look like ghosts, the right arm of the black official hat is clamped into a scroll of accounts, and the green shoulder carries a serrated machete, and there is a humanoid monster with knotted facial muscles, holding a tower in both hands and following behind Zuntian. The clouds under the feet of several figures are also rolling inky clouds, covering almost the entire picture, as if to imply that the dark power of the heavens is overwhelming, and blue sky and pink white clouds can still be seen only in the distant sky.

During the Ming and Qing dynasties, the Chinese Taoist water and land puja was produced by absorbing and using the Buddhist water and land puja in the process of the integration of the three religions. Land and water painting is not only a religious art, but also a folk art, which integrates political propaganda and religious propaganda, with the purpose of propagating religious ideas and educating believers. The Metropolitan Museum of Art in the United States has a 17th-century "Picture of the Holy Emperor of the Gate", the Richmond Museum in Virginia has the most similar portrait of the face of the Lord in this sale, and Christie's Paris released a "Sun Palace Sun Zuntian" painting in December 2022 All of them are treasures made by the royal family, presenting the beliefs, aesthetic tastes and life pursuits of the royal family in the early Qing Dynasty, and are valuable cultural assets in the history of art and religion.

See:

1 Prison Gate Guan Shengdi Jun, Collection of the Metropolitan Museum of Art, 173x91cm.

2 Collection of the Richmond Museum of Virginia.

3 Christie's Paris, December 6, 2022 LOT 28, Sun Palace, Sun Zun Tian, Water and Land Painting.

Lot 928

10th-11th centuries

Bronze gilt statue of the Great Sun

13 cm.high

The main deity depicted in this statue is dressed in a robe and decorated with a bodhisattva, a unique attire that is usually modeled for the Buddha of the Five Directions in the center, and the prominent feature is the two-handed wisdom fist seal, also known as the "Great Perfection Mudra", that is, the hands are half-raised to the chest, and the four fingers of the right fist are clenched around the upturned index finger of the left hand. This is the mudra of the great day of the Vajra realm. The thumb symbolizes the great sun in the center of the mandala, and the four fingers represent the other "four Buddhas" around it. There are a lot of Nepalese statues, but the works with the theme of the Buddha of the Five Directions are very rare, mainly because for a long time, Nepal has been a state of symbiosis and coexistence between Hinduism and Buddhism, and the people's beliefs are also preferential to choose gods closely related to their vital interests, such as the gods who represent wealth and health, such as the well-known Buddha Mother, which enjoys the most widespread belief and the most widespread worship in Nepal.

This figure wears a high-flat bun on the top of the head, and the rest of the hair is draped over the shoulders; the head wears a three-leaf crown, the crown leaves are high and pointed, in the shape of a Mani orb, the ribbon is fan-shaped horizontal knots between the upper ears, the ears are hanging down the shoulders, and the flower-shaped round ears are hung; between the eyebrows there is a faint white hair, the eyebrows are slender, the lips are small and thin, the face is quiet, with a faint joy; the robe is lightly covered to the calf, and the edge is engraved with a continuous diamond-shaped square pattern, and the square is decorated with four points; the left shoulder is obliquely draped with a large beaded sacred thread, which is naturally placed on the calf; the neck wears a tiger claw-shaped necklace, which is a unique decorative technique of Nepalese statues at that time; and the ring bracelet on the wristThe arm of the upper arm is fixed with a double bead line, and the luxurious atmosphere is fully displayed. The main deity sits down, is a fan-shaped Zen cushion, on which the carved pattern and the edge of the pattern echo the pattern, the robe is laid out on the Zen cushion in an inverted triangle, there is a square groove behind the cushion, there should have been a backlight inserted here. At the bottom, there is a square base of flowering windows. A seated statue of Nepalese Amitayus Buddha (see 1) with backlight from the 9th century in the Musée Guimet in Paris, France, has many similarities with this statue in terms of clothing patterns, crowns, faces, and decorative details.

See:

1《印度-西藏铜造像》(Indo-Tibetan Bronzes),乌尔里希·冯·施罗德(Ulrich von Schroeder),2008年, 香港法观出版社,317页,图80E。

Lot 946

16th-17th centuries

Bronze gilt statue of Katsuraku Vajra

29 cm.high

来源:荷兰约翰·迈耶夫妇（Mr. & Mrs. John Meyer）收藏。

著录:Immortal Image-Art of India, the Himalayan Regions, Indonesia and Southeast Asia, Marcel Nies Oriental art, 2001, 42-43页。

This extremely complex double-body statue depicts the important deity of Tibetan Buddhism Tantra, Shengle Vajra, and his concubine Vajra. From the 11th century onwards, Chakrapra was revered in the Himalayas, where Buddhism was widely spread, and was worshipped by devotees as the secret master of Mount Kailash.

The appearance of this figure is not the usual image of two arms on one side or twelve arms on four sides, but the image of seventeen faces and seventy-six arms. The seventeen heads are arranged in five layers, with the top side showing a fearful and angry image, and the rest showing a silent and compassionate face. Among the seventy-six arms, the main two arms in the middle are knotted with the Vajra Mojia Luo seal, holding the vajra bell and the pestle at the same time hugging the Ming Concubine, the lower two fingertips are relative to the seal, the upper two hands are holding the magic weapon sword and shield, and the rest of the hands are arranged in a fan shape on both sides of the main deity, the wheel width almost forms a complete circle that symbolizes the universe, but there is no rigidity at all, the hands and hands hold various magic weapons, the forms are different, the chaos is orderly, and it is extremely vivid.

Concubine Ming has one face, two arms and two legs, her hands around the lord's neck, and she holds a Gabala bowl and a vajra knife. The two main deities both wear five-leaf crowns, white hair between the eyebrows, round earrings, bracelets, necklaces and foot churns and other ornaments are expressed in double beads. The head of the Lord hangs a fresh head around his neck and hangs down between his legs, showing a terrifying atmosphere. Standing on the right and stepping on the Bhairava and Kalaratri symbolize nirvana, which transcends the worldly and the extremes of silence. The lotus base has a unique shape, it is round, the double layer of lotus petals surrounds the seat, the depiction is full, the tip is slightly warped, the three-dimensional sense is strong, the upper edge is decorated with a fine bead pattern, and the bottom edge is high.

The art of the Mara period in Nepal, reflecting the unique aesthetic tastes of the rulers of the Kathmandu Valley at the time, is one of the highlights of Nepal's art history. The high quality of the casting techniques and the vivid artistic creativity of the timers are a testament to the high skill of the Newar masters. The clarity of expression, the striking features of the era and the stylistic elements can be compared with the bronze statues of the Middle Mara Dynasty. The precise proportions of this double figure, with its high head, numerous arms and legs, are precisely balanced with the artist's virtuosity, resulting in a stable and rational structure that is completely top-heavy. The intricate twin figures of Sekra Vajra, with so many elements, are extremely rare in the history of Himalayan art and can be considered a masterpiece of Nepalese master's art.

Lot 947

11th-12th centuries

Bronze gilt statue of Tara

25 cm.high

The history of Nepal in the 10th and 12th centuries is relatively complex, and the centuries between the Richardy and Mara dynasties are often referred to as a transitional period in art historiography. At this time, the beauty and craftsmanship of the statues were very different, and it was difficult to see the unified characteristics, many of which were very similar to the characteristics of Richard's art, and many of them borrowed from the excellent techniques of Para art in its heyday. Its artistic characteristics are as follows: most of the statues have large heads and broad shoulders, square and round faces, small and concentrated facial features, slightly open lips, smiling, giving people a sense of handsome and cordial, the overall proportion of the statue is symmetrical, the structure is reasonable, the lines are smooth, the posture is beautiful, and the hands and feet are delicate and realistic. The neck is hung with a short chain, the upper body is exposed, the lower body is apron, the abdomen is tied with a belt, the flowing silk is draped obliquely on the hips, and the arms and feet are decorated. The statue of Tara is even more impressive, the body is round and plump, the spherical breasts, higher than the armpits, the chest is short and thick, the buttocks are wide and thick, the thighs are strong, the dress is loose, the hem is larger, the waist is draped obliquely, the belt is slightly drooping and then rolled outward, elegant and natural. In particular, the three-fold branch of the body, the twisted waist and hips to one side, the center of gravity of the body falling on one leg, and the graceful posture of the body, although these characteristics already existed in the Richardy period, the slightly exaggerated artistic beauty may have been influenced by the later period of Parra's art. For the standing statues of Tara in Nepal during the transitional period, please refer to Mr. Schroeder's magnum opus, Tibetan Bronze Buddha Statues, vol. 1, 2001, p. 481, Fig. 151C-H.

《西藏铜佛造像》卷一,图151C-H

This statue of Tara is cast in red bronze with a gilt front. There are still traces of mud gold on the face, showing a three-fold slightly twisted posture, and the bare feet stand on the round double-layer lotus base. Tara's hands are in a natural drooping state, her right hand holds the Mani orb with the wish seal, and the thumb of her left hand and the other four fingers form a ring to hold a lotus stem, which rises from the base and blooms along the left arm to the shoulder. Tara's upper body is draped in tulle with a knot at the left shoulder, and a long streamer naturally hangs behind her left side, while the lower body wears a long skirt that reaches to the ankles, and the skirt is beautifully dressed, with a series of engraved patterns on the skirt, and the simple small flower pattern on the back is clearly recognizable.

A similar form of the bun can be found in the Palace Museum collection, a 9th-century standing statue of Tara of Nepal (see 1), and Schroeder's Indo-Tibetan Bronze Statue Bronzes), now in the Newwar Museum of Art, a standing statue of Tara in a standing position around the 11th century, with the same double bun as the deity knot (cf. 3); Both ears wear large ring-shaped ears, the upper arm is similar to the crown, the right wrist is a single-ring bracelet, and the left hand is a five-ring bracelet, the chest is undulating, and the abdomen is slightly convex, which is obviously in line with the aesthetics of the Newwar people at that time. The head is lined with flame headlight and fixed to the back of Tara with nails. The ring on the side of the base should have been the earliest fixture with the altar, niche, or idol of the deity.

In addition to the above-mentioned collections of the Palace Museum and the Potala Palace, the British Museum also has a standing Tara statue from around the 11th century, which is very similar to this statue in terms of posture and style (see 2).

See:

1. Classics of the Palace Museum - Tibetan Buddhist Statues, edited by the Palace Museum, Forbidden City Publishing House, 2009, p. 230, fig. 137.

2. Exhibition of Buddhist Art in Kyoto, Japan, at the British Museum, edited by the Kyoto National Museum & Asahi Shimbun, published by the British Museum & Asahi Shimbun, 1994, p. 146, fig. 82.

3.《印度-西藏铜造像》(Indo-Tibetan Bronzes),乌尔里希·冯·施罗德(Ulrich von Schroeder),2008年, 香港法观出版社,329页,图 86H。

Lot 951

15th century

Bronze gilt Shakyamuni Buddha

40 cm.high

This statue depicts the theme of Shakyamuni's enlightenment. Shakyamuni made a vow in Bodh Gaya, eastern India, in an energetic vajra posture, and finally realized the mystery of reincarnation in a state of meditation. This Buddha Shakyamuni has neat indigo snail hair on his head, the flesh bun is high, the top of the bun is strictly topped with gilded beads, the ears are hanging down the shoulders, and there are three silkworm knots on the neck. The face is round, the cheeks are full, the forehead is high and wide, the thin eyebrows are closed, the tail of the eyebrows is slightly raised, there are drop-shaped white hairs between the eyebrows, the original inlaid gemstones, and the lower jaw is round and convex, vividly expressing the Buddha's extraordinary solemnity and silent perfection. The posture of the whole body is upright and straight, the right hand is placed on the knee to touch the ground, and the left hand is placed in front of the abdomen to form a meditation seal, which shows the posture and image of Shakyamuni Buddha descending from the Bodhi tree and becoming enlightened. The upper body wears a right-shouldered robe, and the lower body wears a monk's skirt, the dress is light and close-fitting, and the corner of the robe is folded on the left shoulder, which completely adopts the ancient Indian sarnath style expression technique, the edge is decorated with folded lines and double beaded lines, and the continuous wheat grain pattern is engraved in the line to express the neckline skirt, highlighting the natural ups and downs and changes of the body. With a thick body, round shoulders and round muscles, he looks strong and powerful, fully demonstrating the extraordinary momentum of the Buddha's "brave husband".

The Buddha sits on a rosette with his legs knotted. The rosette is half-moon-shaped, the spacing of the lotus petals is large, the petal core is full, the tip of the petal is slightly upturned, the top has a simplified cloud pattern, the bottom lotus petal is wide and flattened, and the symmetrical cloud pattern decoration is depicted with the valve core as the axis, which is a relatively rare form of expression. The three-dimensional lotus petals are applied to the front, and the upper and lower edges are decorated with fine bead patterns, which is atmospheric and beautiful.

It is worth mentioning that the artistic style of this statue is based on the Nepalese statue art style, incorporating Tibetan local aesthetic elements, showing the brilliant achievements of Tibetan Buddhist art in the 15th century. The raised eyebrows, thick lips, short jaw, muscular body and vivid sibling postures in this portrait all show a clear Nepalese statue style, which is in line with the aesthetic taste of the Newwar nation. Compared with the early Nepalese works, the proportions of the body are more reasonable, more accurate, and more in line with the normal proportions of the human body, while the gentle but resolute face and soft muscles reflect the aesthetics and pursuits of the Tibetan people. By the 15th and 16th centuries, Tibetan statues had gradually perfected their craftsman's skills, blending various genres and basically forming their own style. This statue is one of the representative works of mature Tibetan craftsmen in the 15th century.

The statue of Shakyamuni Buddha is the most widely circulated and popular statue subject in Buddhist artworks, and it has endured because it has the most widespread worship. It is a very rare Buddhist art masterpiece that shows the compassion and wisdom of Buddhism to people with an incomparably solemn artistic image, and also shows the unique charm of simplicity in a concise and bright art form.

Lot 954

Qianlong of the Qing Dynasty (court)

Cotton cloth painted Shakyamuni thangka

66×42 cm.

This work of Shakyamuni Buddha Thangka from the Qianlong court of the Qing Dynasty is in perfect condition, the picture is freshly colored, with various shades of green as the main tone, and the yellow Buddha wearing a red robe forms a sharp contrast, producing a stunning visual effect; The layout is novel, and the deities painted around the main deity Shakyamuni are obviously arranged in imitation of the traditional format of "the guru offering food fields". With Shakyamuni Buddha as the core, surrounded by a group of eight, with two groups of Buddhas, one group of Bodhisattvas, one group of teachers, etc.; in particular, behind the body light and head light, the original painting utensils or the flowers and leaves of the branches and leaves are depicted, but the sixteen statues of Bodhisattvas with different colors and postures are depicted in the green vines in it, evenly distributed around the main figure, the only thing that is the same is that the sixteen Bodhisattvas are all sitting facing the Lord Shakyamuni Buddha.

The Buddha sits down on a two-color depicted golden lotus platform, and three dragon maidens with snake tails jointly hold up the thick lotus stem supporting the lotus platform in the water, rising from the sea, which is a very rare form of expression in thangkas. On the shore of the sea, there is a Protector of the Angry Phase, a Bodhisattva holding a white lotus, an acolyte holding an incense burner with both hands, and a pair of deer and peacocks painted with a pair of deer.

It is worth mentioning that in the left and right corners of the picture, five caves are depicted, and one person sits in each cave. In the outermost three caves on the left and right, each sits a monk dressed as a yogi or achiever, and in the other two caves, an old figure of a birthday star with a long head and no white beard accompanied by a crane is depicted, one holding a golden finch feather, and the other holding a long-handled ruyi. The Qing Dynasty basically practiced Buddhism and Taoism at the same time, and by the Qianlong period, Buddhism and Taoism had reached an equal level, so it is not surprising that Taoist gods and goddesses appeared in the paintings. There are many gods in the picture, the picture is full of space, there is not much space to express the natural landscape, but the painter's brushstrokes are still full of passion, mountains and rivers, plants and flowers, pavilions and auspicious clouds, all meticulous, showing a very high level.

The court thangka paintings of the Qianlong Dynasty absorbed a lot of nutrients from the process flow and painting themes of Tibetan thangkas, and at the same time had many developments and changes, which became the main characteristics that distinguished them from Tibetan thangkas: first, the palace thangka paintings absorbed the artistic creations of Han, Mongolian, Tibetan and Western painters, so that this purely religious art presented a colorful style and appearance; And many thangka works are the guarantee that the thangka paintings in the palace maintain a high level. The representative thangka works of the Qing court can refer to the "Buddha Statue of Emperor Qianlong" in the Qing Palace, which is similar to this one in terms of layout and painting style.

See:

Classics of the Palace Museum - Illustrated Dictionary of Thangka of the Palace Museum, edited by the Palace Museum, Forbidden City Publishing House, 2009, fig. 34.

Emperor Qianlong Buddha statue in the Qing Palace (6655)

Lot 901

Kangxi of the Qing Dynasty (court)

Bronze gilt Buddha Amitayus

14.3 cm.high

The Buddha sat on his knots, with his hair in a bun, and the front of the bun was decorated with a single piece of Mani orb, with gorgeous jewels spreading from the root of the orb and spreading it all over the forehead and top of the hair; the eyebrows were round and white and convex, the long eyes were slightly closed, the corners of the mouth were slightly raised, and the expression was soft, like a young man. The whole body is strictly decorated, necklaces, Yingluo, arms and feet are inlaid with various colored gemstones, earrings and ears, falling Mani beads, both hands are placed in front of the abdomen to apply meditation to seal the longevity vase, from the bottle mouth longevity flowers extend out a number of bead chain type spikes hanging around the bottle body; the lotus base adopts the classic round lotus style of Mongolian statues, and the inner and outer three layers of large flower-shaped lotus petals are wrapped layer by layer, the layers are distinct, exquisite and luxurious, making the whole image more vivid and gorgeous.

Although this statue has obvious Mongolian statue elements, it is thin, with slender limbs, a tall and upright body, and the jewelry around it is inlaid with various colored gemstones, which are inconsistent with the habits and aesthetics of Mongolian statues. And this carcass is heavy, golden bright and mellow, luxuriously decorated, the face is round, but there is no obvious sense of flesh, the overall lines are smooth, the craftsmanship is outstanding, and the temperament of luxury and grace and elegance is unobstructed, so it is inferred that it is a work from the court of the Kangxi Dynasty of the Qing Dynasty. Similar Kangxi court statues can be found at Christie's Hong Kong's Spring Auction 2018 and Autumn 2012 Amitayus Buddha and a Lotus Hand Guanyin statue, which sold for HK$4.9 million and HK$5.3 million respectively.

See:

1Christie's Hong Kong, 30 May 2018, Lot 2867, transacted for HK$4.9 million.

2. Christie's Hong Kong, 28 November 2012, Lot 2265, sold for HK$5.3 million.

Lot 985

17th-18th centuries

A bronze gilt hammer holds the statue of the king of the country

52×48 cm.

Bibliography: Silence and Wrath, by Chen Baizhong, Kalu Culture Co., Ltd., 2004, p. 398, fig. 250.

The Brahman name of the king of the kingdom is Dhrtarastra, transliterated as Dorazha, which is also translated as the heaven of governing the country, the day of peace and the heaven, and the heaven of obedience. Qiantuo Mountain, which lives in the eastern half of Sumeru Mountain, is the main god of music, so he holds the pipa, indicating that he wants to use music to convert all beings to Buddhism, and is also the protector of Dongsheng Shenzhou, the king of the four heavenly kings, and is also one of the twenty heavens. Because of the protection of the eastern land and the pacification of sentient beings, it is called holding the country, also known as the oriental sky, which is characterized by playing the pipa, and is common in two forms: sitting posture and standing posture. This is a seated statue of the king created for hammering.

This work is a half-sided copper sheet hammer, hammering process is a very important production craft in ancient China, its difficulty is quite high, usually the choice of malleable gold, silver, copper material, with a hammer to continuously hit the metal surface, so that it forms a sheet, and then according to the requirements to create a variety of shapes and patterns. Wearing an armored robe and holding a pipa to present a comfortable sitting posture, wearing a brimmed helmet commonly found in the costumes of Han military generals, the edge of the helmet is divided into five-leaf inlaid treasure manibao, and the top of the bun has a red tassel. The crown and the ribbon of the garment behind the body naturally fly behind the ears and on the side of the body. The posture is natural, the proportions are accurate, the feet are on high boots, the feet are placed on the lotus seat paved with animal skins, the right leg is coiled, the left leg is stretched forward, and the shape is stretched. The details are delicate and realistic: the piano head is gilt and painted with the head of the Dapeng golden-winged bird, the crown, earrings and chest are inlaid with various colored gemstones, the top of the piano is engraved with exquisite auspicious clouds and dragon patterns, and the strings are assembled on the panel with multiple copper wires, together with the delicate and lifelike fingers, which truly reproduces the picture of the king playing the pipa. The bright gold, delicate craftsmanship, and the gemstone inlays all highlight the dignity of this work.

Lot 960

Qianlong of the Qing Dynasty (court)

Alloy Copper Amitayus Buddha (inlaid with gold, silver, precious stones)

28 cm.high

This statue is the traditional style of the Bodhisattva Amitayus Buddha, the main deity and the high platform on which he sits are cast separately and put together, the hair bun on the top of the head is towering like a tower, the Mani bead is tight, the rest of the hair is in a wavy bundle and draped over the shoulders, the forehead wears a gorgeous five-leaf crown inlaid with precious stones, the central crown leaf is wide and in the shape of a "mountain", and the crown belt is folded upwards behind the ears. The Bodhisattva's hands are in front of the abdomen to meditate and seal, holding the longevity vase, the face is handsome, the goose egg face is clearly different from the plump and round face common in the Qianlong period; The crown and the crown jewels of the bun are treated with lacquer, the face is clear, and the expression is clear; the Bodhisattva's upper body is naked, and the streamers of the heavenly clothes are folded up from the back of the neck around the arms through the elbows on the side, adding a sense of movement; the whole body of the Bodhisattva is fully decorated, and the most eye-catching place is the gorgeous skirt of the Bodhisattva's lower body, which is inlaid with gold and silver on the skirt, and the fine plum blossom dot-like decoration is carved, which is luxurious.

Behind the Bodhisattva is a boat-shaped backlight carved with flames in red copper. The style of the rosette, similar to the base of the snowdrift white statue before and after the 18th century, the carcass of the deity is very heavy, the craftsmanship is excellent, the precious metal and all kinds of gems are inlaid regardless of the cost, luxurious and exquisite, so it is inferred that this statue is the work of the white statue of the snowdrift that the Qing Palace imitates the Tibetan area.

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