GRANDE STATUE DE BOUDDHA SHAKYAMUNI EN SCHISTE GRIS
GRANDE STATUE DE BOUDDHA SHAKYAMUNI EN SCHISTE GRIS
GRANDE STATUE DE BOUDDHA SHAKYAMUNI EN SCHISTE GRIS
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GRANDE STATUE DE BOUDDHA SHAKYAMUNI EN SCHISTE GRIS
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GRANDE STATUE DE BOUDDHA SHAKYAMUNI EN SCHISTE GRIS

ANCIENNE RÉGION DU GANDHARA, IIIÈME-IVÈME SIÈCLE

Details
GRANDE STATUE DE BOUDDHA SHAKYAMUNI EN SCHISTE GRIS
ANCIENNE RÉGION DU GANDHARA, IIIÈME-IVÈME SIÈCLE
Hauteur : 105,5 cm. (41 ½ in.), socle
Provenance
Previously from the collection of Paul E. Manheim (1906-1999).
The Metropolitan Museum of Art, New York, Gift of Paul E. Manheim, 1966 (accession no. 66.156.2).
Property from the Metropolitan Museum of Art; Christie's New York, 30 March 2006, lot 20.
Private collection, Connecticut.
Literature
T. Schlotterback, 5000 years of art : an exhibition from the collections of the Metropolitan Museum of Art, Bellingham, WA, 1976, p. 128, cat. no. 93.
Further details
A LARGE GREY SCHIST FIGURE OF A BUDDHA SHAKYAMUNI
ANCIENT REGION OF GANDHARA, 3RD-4TH CENTURY
Sale room notice
Veuillez noter que cette statue a été publiée dans T. Schlotterback, 5000 years of art : an exhibition from the collections of the Metropolitan Museum of Art, Bellingham, WA, 1976, p. 128, cat. no. 93.

Please not this figure is published in T. Schlotterback, 5000 years of art : an exhibition from the collections of the Metropolitan Museum of Art, Bellingham, WA, 1976, p. 128, cat. no. 93.

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Tiphaine Nicoul
Tiphaine Nicoul Head of department

Lot Essay

This magnificent standing Buddha figure exemplifies the mastery when sculpture in the ancient region of Gandhara was at its most refined. The monastic raiment is draped across both shoulders with considerable back throw, hanging naturalistically in u-shaped folds that reveal the contours of the powerful body. The faithful rendering of the deeply carved folds of the garment, the face, and the ripples of the hair are particularly exquisite and are a testament to the skill of the sculptor. This masterfully-carved figure embodies an idealized and transcendent male form. The heavy sanghati delicately models the muscular shoulders, torso, soft belly and rounded thigh; the left knee bends in preparation to step forward. This subtle gesture, along with the undulating folds of the robe, allows one to imagine the fabric fluttering as the Buddha moves. Heavy eyelids frame the almond-shaped eyes, the forehead remains perfectly unlined, and there is no tension in the rosebud mouth. While activated with energy, movement and life, the Buddha is simultaneously in a state of otherworldly tranquility. In the ancient region of Gandhara, the sculptural tradition was strongly influenced by the Hellenistic style left in the wake of Alexander. Local artisans favored the principles of figural naturalism, in particular the athletic and heroic idealized body. The depiction of the Indian dhoti and sanghati, like that of the Greek chiton and himaton, presented an opportunity to reproduce voluminous folds of drapery with wondrous aplomb, as is evident in the present work.

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