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Lot Essay
The only other known comparable massive Buddhist figure of such monumental proportion appears to be the ungilt seated example sold in these Rooms, 28 April 1996, lot 567 (see fig. 1), dated to the second half of the 14th century. Both these figures share many similar characteristics including facial features with symmetrical lips, floral five-leaf diadem accommodating the Amitabha, pendent earrings, array of jewels arranged across a broad torso which has been exaggerated by an exceptionally narrow waist, and the treatment of the dhoti. Whereas the ungilt figure possesses an imposing presence with its highly ornate floral-decorated garment and hands clasped together in namascara mudra, the present example exudes a more serene pose as suggested by the assuring hand in vitarka mudra. This is a gesture of exposition, symbolising the Buddha in midst of elucidating his teachings.
The overall style of the present figure relates well to 14th century Malla period Nepalese bronzes, cf. a bronze figure of Vajradhara, illustrated by Von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, p. 358, pl. 95A, modelled with elongated torso and limbs, contrasting markedly to the broad chest and hips. Compare also a highly distinctive, Nepalese derived lacquered wood Bodhisattva of the Yuan period in the Freer Gallery, illustrated in Hai-wai Yi-chen, Chinese Art in Overseas Collections: Buddhist Sculpture, Taibei, 1990, no. 163. It is known that Anige, the legendary Nepalese image maker, was active at the Yuan court and his works are well documented in Chinese records; although it is difficult to identify them with any certainty, it is possible that Nepalese influence partly prevailed into the early Ming period.
Despite the Nepalese influence, it is clear that a Chinese style was favoured in general, particularly in the rendition of a rounder face and ornamentation of the beaded jewellery. Compare the serene facial expression and folds of the ridged neck of the present bronze to the qingbai-glazed porcelain figure of Guanyin excavated from the site of the Yuan capital Dadu in Beijing in 1969, now in the Capital Museum, illustrated in Zhongguo Meishu Quanji, Ceramics, vol. 3, no. 14; the festoon beaded necklace of the porcelain Guanyin also hangs off a shaped torque as on the present figure. The rockwork base on which the present figure is seated is also Chinese in nature, and relates well with images of the 'Watermoon' Guanyin, who according to legend was to have sat at ease on a rocky shore.
A particular point of note on the present figure is the portrayal of the naturalistic movement in the garment enhanced by billowing celestial scarves at either side and the naturalistic wave-like folds around the legs. The fine casting gives the garment material an appearance of fine gossamer quality. This is obviously seen in the depiction of the shawl which wraps closely around the arms; and the crisply defined folds along the top of the fitted dhoti, styled in contrast to the rounded pleats above the bare feet.
The textile borders are also well rendered with finely chased varigated floral pattern comprising lotus, chrysanthemum and peony on a punched-cell ground. Whilst these are comparable to the floral motifs found on underglaze-blue and copper-red porcelains of the mid 14th to early 15th centuries, the detailing of the punched-cell ground is consistent with the garment style on a number of early Ming gilt-bronzes. Compare with the floral design along edges of the robe worn by a large gilt-bronze figure of the ascetic Sakyamuni, dated to 14th century, sold in these Rooms, 30 October 1994, lot 389.
The rarity of this exceptionally large and superbly cast figure points to a special commission, as with the two massive gilt-bronze guardian figures offered in the present sale, lots 511 and 512.
The overall style of the present figure relates well to 14th century Malla period Nepalese bronzes, cf. a bronze figure of Vajradhara, illustrated by Von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, p. 358, pl. 95A, modelled with elongated torso and limbs, contrasting markedly to the broad chest and hips. Compare also a highly distinctive, Nepalese derived lacquered wood Bodhisattva of the Yuan period in the Freer Gallery, illustrated in Hai-wai Yi-chen, Chinese Art in Overseas Collections: Buddhist Sculpture, Taibei, 1990, no. 163. It is known that Anige, the legendary Nepalese image maker, was active at the Yuan court and his works are well documented in Chinese records; although it is difficult to identify them with any certainty, it is possible that Nepalese influence partly prevailed into the early Ming period.
Despite the Nepalese influence, it is clear that a Chinese style was favoured in general, particularly in the rendition of a rounder face and ornamentation of the beaded jewellery. Compare the serene facial expression and folds of the ridged neck of the present bronze to the qingbai-glazed porcelain figure of Guanyin excavated from the site of the Yuan capital Dadu in Beijing in 1969, now in the Capital Museum, illustrated in Zhongguo Meishu Quanji, Ceramics, vol. 3, no. 14; the festoon beaded necklace of the porcelain Guanyin also hangs off a shaped torque as on the present figure. The rockwork base on which the present figure is seated is also Chinese in nature, and relates well with images of the 'Watermoon' Guanyin, who according to legend was to have sat at ease on a rocky shore.
A particular point of note on the present figure is the portrayal of the naturalistic movement in the garment enhanced by billowing celestial scarves at either side and the naturalistic wave-like folds around the legs. The fine casting gives the garment material an appearance of fine gossamer quality. This is obviously seen in the depiction of the shawl which wraps closely around the arms; and the crisply defined folds along the top of the fitted dhoti, styled in contrast to the rounded pleats above the bare feet.
The textile borders are also well rendered with finely chased varigated floral pattern comprising lotus, chrysanthemum and peony on a punched-cell ground. Whilst these are comparable to the floral motifs found on underglaze-blue and copper-red porcelains of the mid 14th to early 15th centuries, the detailing of the punched-cell ground is consistent with the garment style on a number of early Ming gilt-bronzes. Compare with the floral design along edges of the robe worn by a large gilt-bronze figure of the ascetic Sakyamuni, dated to 14th century, sold in these Rooms, 30 October 1994, lot 389.
The rarity of this exceptionally large and superbly cast figure points to a special commission, as with the two massive gilt-bronze guardian figures offered in the present sale, lots 511 and 512.