佛像鉴定鉴赏收藏

尺寸：高18.4cm
年代：明代
质地：铜鎏金
风格：永乐宫廷
来源：拍卖会
成交：1,335,000美元(2018.03)
参阅：纽约苏富比
鉴赏：
来源
Doris Wiener Gallery，纽约，得于1965至1970年之间
美国私人收藏，此后家族传承
古比特佛像网, 编号: 文殊菩萨214

相关资料
本尊文殊像，典雅别致，尺寸精巧，铸工精美，细致入微，代表明初一类受藏风影响之御制佛像。Ulrich von Schroeder 曾记载四十五尊永乐年施造像收藏于西藏寺院，见《Indo-Tibetan Bronzes》，1981年，当中大部分现存布达拉宫（录《Buddhist Sculptures in Tibet》，香港，2001年，卷2，页1237-91）。永乐皇帝在位之时，朝廷对西藏政要及寺院恩遇有加，大赐国礼，使此类珍品传入西藏并得以善存。本品底座莲瓣细长挺拔，仅见于小尺寸永乐款造像，平均高度多约为18至22公分。

本文殊像上身微倾，宝饰流畅繁丽，飘然若动，意态潇洒，反映明初宫廷审美品位。观其细腰宽肩，明显受印度风格尼泊尔工艺传统影响，此风格在元朝时传入中原，乃藏传佛教艺术风格之滥觞；藏人传统喜珠串宝饰，本像刻画亦身饰珠炼，华富繁缛。然藏佛造像多作嵌宝，而此类像则不加嵌饰，以应明廷审美；另见其铸刻精细自然，起伏流畅，亦为中国佛像特色。

文殊菩萨，意译妙德、妙首、妙吉祥，睿智灵善，常与普贤菩萨并列，或为释迦如来两大弟子，侍佛左右。文殊菩萨居五台山，善说法要，开导众生，据传乃奉释迦如来之命，广授佛法，五台山因而香火鼎盛。

本品文殊菩萨手结转法轮印，此手印象征佛陀初转法轮，于鹿野苑开演正法，启迪众生，乃佛陀一生至关重要时刻。右手中、食、尾三指朝上，分别代表声闻乘、缘觉乘与菩萨乘，左手伸展三指，象征佛、法、僧三宝。双手持莲茎，两肩旁各开莲花一朵，莲花上各置慧剑与般若经，两者合一象征去除痴愚妄念，把握真理，达至圆满智慧。

比较一作例，尺寸与本品相近，端坐于莲座，莲瓣修长，慧剑与般若经缺失，售于伦敦苏富比2014年11月5日，编号41。另有一近例，尺寸稍大，造型及法器与本品相似，底座莲瓣较宽，展于《Lamaistic Art， Societe Generale de Banque》，布鲁塞尔，编号19，售于伦敦佳士得1985年4月16日，编号300。香港佳士得2014年11月26日另售一例，编号3106。再比一例，直背造型，出自J.P.H.Y. 收藏，图见 Ulrich von Schroeder，《Indo-Tibetan Bronzes》，香港，1981年，图版144F。继永乐之后，宣德一朝亦见相近作例，其中一件带宣德年款造像曾展于《On The Path to Enlightenment》，Museum Rietberg，苏黎世，1995年，编号68。

AN EXCEPTIONAL GILT-BRONZE FIGURE OF MANJUSHRI
YONGLE MARK AND PERIOD
superbly cast in rounded fleshly volume, the bodhisattva seated in dhyanasana on a double-lotus pedestal, the arms raised in dharmachakra mudra to the chest, holding two stalks of uptala lotuses rising up the shoulders and supporting a khadga and pustaka, the gracefully swaying figure wearing a dhoti falling into elegant pleats, draped with a celestial sash around the shoulders and arms, the chest and the waist adorned by elaborate beaded necklaces, the face set with a serene and benevolent expression, with wheel-shaped earrings attached to the pendulous earlobes, surmounted by a five-leaf diadem around a high chignon, the lotus base incised with a reign mark reading Da Ming Yongle nian shi, the sealed base engraved with a double vajra
Height 7 1/4 in., 18.4 cm

Provenance
Doris Wiener Gallery, New York, acquired between 1965 -1970.
American Private Collection, and thence by descent.

Catalogue Note
This outstanding figure of the bodhisattva Manjushri, the ‘Beautiful and Virtuous Lord’, represents a group of Buddhist figures made on the orders of the Imperial Court in China during the first half of the 15th century that displayed a style influenced by the art of Tibet. According to Ulrich von Schroeder in Indo-Tibetan Bronzes, Hong Kong, 1981, fifty-four Da Ming Yongle nian zhi works have been documented in Tibetan monastery collections, most of which are held in Potala Palace, Tibet (see Ulrich von Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2001, vol. II, pp 1237-91). These works have survived in Tibet due to imperial patronage lavished on Tibetan hierarchs and monasteries during the reign of the Yongle Emperor. The slim elongated lotus petals on the base of this piece are only seen on smaller Yongle works which average eighteen to twenty-two centimeters in height. Thus this group of figures are characterized by their delicate appearance, emphasized by the intimate size and exquisitely finished details.

Particularly fine for the gentle sway of the torso, which compliments the curves of the adornments to create a sense of movement, this figure reflects the Chinese taste of the early-Ming court. The well-defined waist and broad shoulders exemplify Indo-Nepalese traditions that were introduced into China during the Yuan dynasty and served as the foundation of the Sino-Tibetan style. Additionally, the craftsman has expertly fused the Tibetan love of ornamentation, seen in the luxurious jewelery, with the delicacy of detail, masterful casting, and the naturalism in style of China. Notably, while Tibetan figures were often embellished with inlaid semi-precious stones, these have been omitted in accordance with the aesthetic of the early Ming court.

Manjushri is the bodhisattva associated with the wisdom of Buddha and is commonly paired with Samantabhadra, the Bodhisattva of Compassion. The two bodhisattvas are important acolytes of Shakyamuni and are believed to have been historical figures, possibly disciples of the Buddha. Manjushri resides in the Five Peak Mountain, Wutaishan, and is on earth to save people from ignorance. It is believed that Manjushri was instructed by Shakyamuni to transmit his teachings and his residence, Wutaishan, became one of the major centers of pilgrimage for his followers.

The figure’s carefully rendered hands are held in dharmachakra mudra, the ‘Wheel of Dharma’. This mudra symbolizes one of the most important moments in the life of the Buddha: the occasion when he preached to his companions the first sermon after his Enlightenment in the Deer Park at Sarnath. The three extended fingers of the right hand represent the three vehicles of the Buddha’s teachings, namely the ‘hearers’ of the teachings through the middle finger; the ‘solitary realizers’ through the fourth finger, and the Mahayana, or ‘Great Vehicle’ through the little finger. The three extended fingers of the left hand symbolize the Three Jewels of Buddhism: the Buddha, the Dharma, and the Sangha. Stalks of lotus flowers emanate from his hands, from which rest the symbols of Manjushri, the sword (khadga), which has been heavily stylized and abbreviated, and the book (the Prajnaparamita). Together they symbolize the highest knowledge that is reached by overcoming ignorance and studying the highest book of wisdom.

A related figure of Manjushri of similar size and seated on a base with elongated lotus petals, but lacking the attributes, was sold in our London rooms, 5th November 2014, lot 41. Compare a larger figure of closely related form and attributes, but rendered with broader lotus petals on the base, included in the exhibition Lamaistic Art, Société Generale de Banque, Brussels, cat. no. 19, sold at Christie’s London, 16th April 1985, lot 300; and another sold at Christie’s Hong Kong, 26th November 2014, lot 3106. A related figure, but cast without the gentle sway in the back, from the J.P.H.Y. collection, is illustrated in Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, pl. 144F. Figures of this type were also created in the succeeding Xuande reign; see one, with a Xuande mark and of the period, included in the exhibition On The Path to Enlightenment, Museum Rietberg, Zurich, 1995, cat. no. 68.

品相说明:
In excellent general condition. The brilliant gilding is preserved extremely well with some characteristic minor localized wear and surface accretions, as visible in the catalogue images. The consecration plate to the base is intact. Surface wear and minute dents along the edges of the lotus base.