保利香港將於2017年秋拍舉行
「清淨廣嚴——明永樂宮廷造像」專場
拍賣時間:10月2日,下午4點
地點:香港君悅酒店
請點擊觀看 無量壽佛立像 賞析視頻
Lot 3210
明永樂銅鎏金無量壽佛
款識:「大明永樂年施」
H 19.4cm
估價:
HK$ 2,800,000 - 3,800,000
US$ 359,000 - 487,000
本尊明永樂無量壽佛工藝精細,銅質細密,為典型的永樂宮廷造像。明代宮廷造像融合漢藏兩種風格,雕工精細,雍容華貴,流光溢彩,具有宗教、歷史、藝術和科學多方面的價值。它見證了明代漢藏民族之間深度的文化藝術交流,同時也體現了明代藏式佛像和宮廷藝術的最高成就,代表了冶煉和鑄造技術的高度發展水平,甚具收藏價值。
本尊明永樂銅鎏金無量壽佛,一面二臂,作菩薩裝束,頭戴五葉寶冠,上作葫蘆形髮髻,雙手作禪定印,手心托甘露缽,全身飾珍寶瓔珞,天衣自手腕處曲折飄下。蓮座上自左至右陰刻「大明永樂年施」楷書款識。整體造型優美,比例勻稱,為永樂造像中難得一見之佳作。
永樂宮廷鑄造站立姿造像並不多見,最為重要的當屬青海博物館和法國巴黎塞爾努奇博物館(Museum Cernuschi)所藏兩尊大尺寸帶有「大明永樂年施」款的銅鎏金觀音菩薩立像。這兩尊造像體格碩大,工藝精湛,震爍古今。此外,香港蘇富比2006年秋推出的《佛華普照—Speelman收藏重要明初鎏金銅佛》專場封面作品明永樂銅鎏金釋迦牟尼立像僅見唯一。此尊無量壽佛屬於永樂造像中較小型的作品,同樣題材罕有,為世所稀見。
明永樂銅鎏金觀音菩薩立像
©青海博物館藏
明永樂銅鎏金無量壽佛立像
©佳士得香港,2015年6月3日,編號3009
與本件同類作品可參考佳士得香港,2015年6月3日,編號3009,以高達港幣25,880,000成交,兩尊永樂造像身量尺寸相仿,風格相似。本尊在面部表情方面的處理更顯精巧,更完整地體現了明初鑄造工藝的精湛。
無量壽佛即阿彌陀佛,為西方極樂淨土世界的教主,以無盡願力誓渡一切眾生,不捨悲願,以無量光明照獨行者,業障重罪皆可消減,凡持其名號者,生前獲佛護佑,消除一切災禍業苦;死後更可化生其極樂淨土,得享一切安樂。
無量壽佛是能滿足現世眾生對於壽命綿長的追求,又能接引善良眾生死後超脫輪迴之苦,往生西方極樂世界。因此,在漫長的歷史長河中,以無量壽佛為題材的單尊造像作品不計其數。
A GILT BRONZE FIGURE OF AMITAYUS
MARK AND PERIOD OF YONGLE, 1403-1424
H 19.4cm
The deity is exquisitely cast standing on a beaded lotus base with the hands in buddhapatra mudra, placed horizontally in front of the waist and holding an alms bowl, patra. The rounded face is finely modelled with an urna between the arched eyebrows. The eyes are downcast and lips gently indented to provide a benevolent, smiling, expression.
The figure is adorned with an elaborate diadem securing the hair swept up into a topknot with two neat strands falling on each shoulder. The figure is further adorned with complex beaded jewellery chains across the bare torso and worn around the narrow waist, over the thin dhoti. The front of the base is incised with a six-character reign mark.
The present example belongs to a very rare group of smaller sized, standing Buddhist images from the Ming Yongle period which were finely and skillfully cast. Buddhist images from the first half of the fifteenth century were greatly influenced by the art of Tibet. In the preceding century under the Yuan Dynasty, the authority of Mongol rulers had become closely associated with Tibetan Buddhist or Lamaist rituals. The tradition of Lamaist art continued into the Ming period and prevailed in works of art such as the present sculpture.
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