拍品专文
Compare the similar treatment of the ribbons at the side of the headdress to two other stone carvings from the Sui dynasty both illustrated in Matsubara Saburo, Chugoku Bukkyo Chokoku Silun, vol. II, pp. 583 and 584 a & b. All three figures share similar facial characteristics in the full face, downcast eyes and slight indentations around the mouth.
For a very closely related Sui dynasty example, formerly in the Avery Brundage Collection, now in the Asian Art Museum, San Francisco, cf. Gems of Chinese Art, p. 235, no. 103, where the author notes that the squarish face, wavy upper lips, three horizontal creases on the neck and bulky pillar-like body are all vestiges of the Norther Qi style. In contrast to the Avery Brundage Bodhisattva, the present lot displays a far more restrained jewellery chain which provides an elegant contrast against the plain surfaces of the garment. The shallow relief of the garment folds gives a general impression of the flimsy material clinging onto the body providing subtle suggestion of body curvature of the torso and legs. This style contrasts sharply to the generous garment pleats found on some Tang dynasty examples.
(US$250,000-300,000)
For a very closely related Sui dynasty example, formerly in the Avery Brundage Collection, now in the Asian Art Museum, San Francisco, cf. Gems of Chinese Art, p. 235, no. 103, where the author notes that the squarish face, wavy upper lips, three horizontal creases on the neck and bulky pillar-like body are all vestiges of the Norther Qi style. In contrast to the Avery Brundage Bodhisattva, the present lot displays a far more restrained jewellery chain which provides an elegant contrast against the plain surfaces of the garment. The shallow relief of the garment folds gives a general impression of the flimsy material clinging onto the body providing subtle suggestion of body curvature of the torso and legs. This style contrasts sharply to the generous garment pleats found on some Tang dynasty examples.
(US$250,000-300,000)