拍品 733
733
AN IMPORTANT AND VERY RARE STONE BUDDHIST STELE
AN IMPORTANT AND VERY RARE STONE BUDDHIST STELE
AN IMPORTANT AND VERY RARE STONE BUDDHIST STELE
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Please note that this lot is subject to an import … 显示更多 PROPERTY FROM AN IMPORTANT JAPANESE COLLECTION
AN IMPORTANT AND VERY RARE STONE BUDDHIST STELE

NORTHERN WEI DYNASTY (AD 386-534), DATED BY INSCRIPTION TO AD 457

细节
16 1⁄8 in. (41 cm.) high, softwood stand
来源
Mizuno Tsurunosuke Collection, Osaka, early twentieth century.
Dan Takuma (1858-1932) Collection, Japan.
Important private Japanese collection, prior to 1994, and thence by descent within the family.
出版
Osvald Sirén, Chinese Sculpture from the Fifth to the Fourteenth Century, vol. 1, London, 1925, pl. 116-7.
Osvald Sirén, Histoire des arts anciens de la Chine III La Sculpture, Paris, 1930, pl. 47 C & D.
Osvald Sirén, Chinese Art, London, 1935, pl. 18 B & C.
Stone Buddha, Osaka City Museum, Osaka, 1953, no. 1.
Bijutsu Card 14, Bijutsu Shuppansha, Tokyo, 1954, no. 928.
Suzuki Kei and Matsubara Saburo eds., Summary of Asian Art history – vol.2, Tokyo, 1957, no.37.
Takashimaya Department Store at Nihonbashi, Chinese Ancient Sculpture, 1959, no. A.
Mizuno Seiichi, Bronze and Stone Sculpture of China, Tokyo, 1960, nos. 36-37.
Matsubara Saburo, Research on the History of Chinese Buddhist Sculpture, Tokyo, 1961, fig. 5 and nos.12-13.
Sekai Bijutsu Zenshu 14 - China- Six dynasties, Tokyo, 1963, no. 48.
Kobijutsu 10, Sansaisha, Tokyo, 1965, p. 24.
Osaka City museum, Chinese Art 5000 Years, Osaka, 1966, no. 2-12.
Ancient Chinese Art - The Origin of Japanese Art, Kagawa, 1968, F18.
Mizuno Seiichi, Chinese Buddhist Art, Tokyo, 1968, nos. 31-32.
Nagahiro Toshio ed., Asiatic Art in Japanese Collections, vol. 3, Sculpture, 1968, no. 23.
Tokyo National Museum, Oriental Art - Asian Gallery Opening Memorial Exhibition, Tokyo, 1969, no. 57.
Yamato Bunka 51, Yamato Bunkakan, Nara, 1969, no.1.
Matsubara Saburo ed., Complete History of Asian Art, Tokyo, 1972, no. 216.
Osaka City Museum of Fine Arts, Chinese Art from Six Dynasties, Osaka, 1975, no. 3-65.
Tanaka Yoshiyasu ed., Nihon no Bijutsu 8 – No.159, Birth of Buddha, 1979, no. 26.
Matsubara Saburo, Chinese Art - Sculpture, Tokyo, 1982, p. 132.
Osaka City Museum, Chinese Buddhist Sculptures, Osaka, 1984, no. 10, p. 28.
Tokyo National Museum, Museum 432, Tokyo, 1987.
Jin Shen in Hai wai ji Gong Yai cang li dai fo xiang: zhen pin ji nian tu jian (Catalogue of Treasures of Buddhist Sculpture in Overseas Collections including Hong Kong and Taiwan), Shanxi, 2007, p. 6.
展览
Tokyo, Takashimaya Department Store at Nihonbashi, Chinese Ancient Sculpture, 28 Apr – 10 May 1959.
Osaka, Osaka City Museum, Chinese Art 5000 Years, 15 October – 23 November 1966.
Kagawa Prefecture, Kagawa Prefectural Cultural Hall, Ancient Chinese Art - The Origin of Japanese Art, 1968.
Tokyo, Tokyo National Museum, Oriental Art - Asian Gallery Opening Memorial Exhibition, 1969.
Osaka, Osaka City Museum, Chinese Art from Six Dynasties, 10 October - 9 November, 1975.
Osaka, Osaka City Museum, Chinese Buddhist Sculptures, 6 October -11 November, 1984.
注意事项
Please note that this lot is subject to an import tariff. The amount of the import tariff due is a percentage of the final hammer price plus buyer's premium. The buyer should contact Post Sale Services prior to the sale to determine the estimated amount of the import tariff. If the buyer instructs Christie's to arrange shipping of the lot to a foreign address the buyer will not be required to pay the import tariff, but the shipment may be delayed while awaiting approval to export from the local government. If the buyer instructs Christie's to arrange shipping of the lot to a domestic address, if the buyer collects the property in person, or if the buyer arranges their own shipping (whether domestically or internationally), the buyer will be required to pay the import tariff. For the purpose of calculating sales tax, if applicable, the import tariff will be added to the final hammer price plus buyer's premium and sales tax will be collected as per The Buyer's Premium and Taxes section of the Conditions of Sale.

荣誉呈献

Rufus Chen (陳嘉安)
Rufus Chen (陳嘉安) Head of Sale, AVP, Specialist
+1 212 636 2180

拍品专文


The exceptional and important stone stele belongs to a small group of Northern Wei Buddhist stone steles depicting the Buddha with acolytes on one side and scenes of the Buddha’s life on the reverse. The upper frieze depicts the Buddha being born from his mother’s side. The lower frieze depicts the Buddha’s bath, showing the Buddha standing facing forward surrounded by two kneeling serpent kings, each intertwined by serpents that wrap around the king and writhe above his head. To the right of this scene is a depiction of the Buddha’s first steps.

The imagery derives from Indian prototypes. Compare, for instance, a Kushana-period stone sculpture of the Buddha’s first bath, 2nd century AD, in the Government Museum, Mathura, Uttar Pradesh, India, where the Buddha is similarly depicted flanked by serpent kings. In the Kushana example, the serpent kings are not shown accompanied by serpents, as they are in the present sculpture.

A similar but slightly smaller stone stele of Buddha, also dated to AD 455 of the Northern Wei dynasty, is illustrated by Jin Shen in Hai wai ji Gong Yai cang li dai fo xiang: zhen pin ji nian cu jian (Catalogue of Treasures of Buddhist Sculpture in Overseas Collections including Hong Kong and Taiwan), Shanxi, 2007, p. 3. The reverse of this stele is carved with four friezes depicting the latter part of the Buddha’s life ending with the Buddha’s death, or parinirvana, while the present stele depicts the earlier part of the Buddha’s life beginning with the Buddha’s birth. Also illustrated, p. 10, is another stone stele of Buddha, dated to the Northern Wei dynasty AD 472 of the Northern Wei dynasty also depicting friezes of the Buddhas life on the reverse and is in the collection of the Museum Yamata Bunkakan.

The decoration on the plinth on the front of the sculpture also derives from Indian prototypes, such as the red sandstone Kushan-period example dated to AD 82, depicting a seated figure of Buddha flanked by attendants in the Kimball Art Museum, AP 1986.06. On the present sculpture, the relief panel on the throne is carved with two attendants standing on either side of a simplified pillar surmounted by a wheel, which is then flanked by two lions in either corner, all symbolizing the Buddha’s teachings and royal heritage. The relief panel on the Kimball example is carved with similar decoration, except the pillar and wheel are stylized with different decoration and the two attendants are facing forward holding flywhisks.

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