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拍品专文
The present Buddha is very similar in its modelling to two other well- known examples, one in the British Museum, the other in the Speelman Collection. (See Arts of Asia, Sep-Oct 1994, vol. 24 no. 5, p. 84; and May-Jun 1996, vol. 26 no. 3, pp. 66-68). Both the British Museum example and the Speelman example are set in elaborate gilt-copper repoussé thrones. It is noted that the base plates of both these Buddhas were held in place by a number of relatively modern screws which were placed through the original holes of the base of the figure beneath the lower row of pearls. Pins set through these holes and into the wooden construction inside the cavity would have held the plate in place. The pins, which would have been visible from the outside after the consecration process, are in fact hidden when the figure is inserted into the throne up to the level of the lower row of pearls. Presumably because of the weight and contents of the statue after consecration, this method of sealing was used over the one normally seen, which requires only a number of cuts in the base rim that catch the plate and secure it.
Compare also the examples which use a more conventional way of securing the base plates, such as the very similar gilt-bronze Sakyamuni in the Beijing Palace Museum, illustrated in The Complete..., p.???; and one of slightly larger size, with a Xuande inscription, in the Chang Foundation illustrated in Buddhist Images of Gilt Metal, Taipei, 1993, p. 18-19, no. 2. The Chang Foundation figure has his hands in dhyanamudra but is similarly modelled in all other respects.
Another similar figure from the Victoria and Albert Museum dated to the Ming dynasty, with hands in the same mudra is illustrated in Fojiao Diaosu Mingpin Tulu (Images of Famous Buddhist Sculpture), Beijing, 1997, p. 175, no. 167.
Compare also the examples which use a more conventional way of securing the base plates, such as the very similar gilt-bronze Sakyamuni in the Beijing Palace Museum, illustrated in The Complete..., p.???; and one of slightly larger size, with a Xuande inscription, in the Chang Foundation illustrated in Buddhist Images of Gilt Metal, Taipei, 1993, p. 18-19, no. 2. The Chang Foundation figure has his hands in dhyanamudra but is similarly modelled in all other respects.
Another similar figure from the Victoria and Albert Museum dated to the Ming dynasty, with hands in the same mudra is illustrated in Fojiao Diaosu Mingpin Tulu (Images of Famous Buddhist Sculpture), Beijing, 1997, p. 175, no. 167.