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拍品專文
The dating is consistent with The Radiocarbon Analysis Report, University of Toronto, 7 April 1998.
The present figure, Syamatara, 'the granter of all wishes', is seated in lalitasana with her right foot resting on a separate lotus flower. Her right hand is in varadamudra or 'granting wishes' gesture, her left hand holding a lotus. Her ornaments are lavishly inlaid with stones. The red lacquered base is finely painted with a vishvavajra. Interestingly, it is most probably placed on its original base which is equiped with four iron rods to carry the sculpture.
The sacred image shows strong influence of Tibetan Buddhism on Chinese art, which began during the Yuan dynasty (1279-1368). The tradition of its art continued into the Ming and Qing dynasties.
It was during the reign of the Emperor Kangxi (1662-1722) that numerous Tibetan Buddhist monasteries and temples in China itself were founded. Works of art often exhibit both Tibetan and Chinese styles. Kangxi was a devout follower of Tibetan Buddhism, and under his reign vast quantities of lamaist-influenced sculptures and ritual implements were produced. It was during this period that the present sculpture could have been created. Compare the style and decoration found on, for instance, gilt-bronze figures of Amitayus dated to the 17th or 18th centuries. Such an example was sold by Christie's Paris, 7 June 2011, lot 412A.
The elegance and fine quality of both Syamatara and Amitayus figures with its slightly angular features, the very finely incised floral scrolling on the borders of the robes, and the intricate lotus throne base, over the edge of which flowing scarves trail, are all characteristic of the Buddhist sculptures of the Kangxi reign made in the Tibetan style.
The present figure, Syamatara, 'the granter of all wishes', is seated in lalitasana with her right foot resting on a separate lotus flower. Her right hand is in varadamudra or 'granting wishes' gesture, her left hand holding a lotus. Her ornaments are lavishly inlaid with stones. The red lacquered base is finely painted with a vishvavajra. Interestingly, it is most probably placed on its original base which is equiped with four iron rods to carry the sculpture.
The sacred image shows strong influence of Tibetan Buddhism on Chinese art, which began during the Yuan dynasty (1279-1368). The tradition of its art continued into the Ming and Qing dynasties.
It was during the reign of the Emperor Kangxi (1662-1722) that numerous Tibetan Buddhist monasteries and temples in China itself were founded. Works of art often exhibit both Tibetan and Chinese styles. Kangxi was a devout follower of Tibetan Buddhism, and under his reign vast quantities of lamaist-influenced sculptures and ritual implements were produced. It was during this period that the present sculpture could have been created. Compare the style and decoration found on, for instance, gilt-bronze figures of Amitayus dated to the 17th or 18th centuries. Such an example was sold by Christie's Paris, 7 June 2011, lot 412A.
The elegance and fine quality of both Syamatara and Amitayus figures with its slightly angular features, the very finely incised floral scrolling on the borders of the robes, and the intricate lotus throne base, over the edge of which flowing scarves trail, are all characteristic of the Buddhist sculptures of the Kangxi reign made in the Tibetan style.