Page 14 - Bonhams NYC Chinese works of Art March 2019
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           A SILVER-INLAID BRONZE FERRULE                    A GILT-BRONZE FIGURE OF GUANYIN IN A GROTTO
           Late Eastern Zhou dynasty, 3rd century BCE        Song dynasty
           Cast with a flat end and an almond shaped opening, with a raised   Cast clad in a dhoti and scarf, adorned with a necklace and a tiara
           band at its mid-section, the body inlaid with silver in abstract bird   fronting the high chignon, seated in lalitasana on a separately cast
           forms.                                            platform with removable stylized grotto of pierced and pointed rocks
           4 7/8in (12.5cm) high                             framing the figure like a mandorla, all secured with linchpin tabs to a
                                                             platform resting on rockwork, riveted to a stepped dais.
           $7,000 - 10,000                                   8 3/4in (22.2cm) high, overall

           東周晚期 公元前三世紀 銅錯銀鐏                                  $8,000 - 12,000

           Provenance:                                       宋 鎏金銅坐岩自在觀音像
           Arthur M. Sackler (1913-1987) Collection
           Christie’s New York, 1 December 1994, lot 41      Provenance:
                                                             A Japanese private collection, by repute
           Two types of ferrule were common in the Warring States period, one
           terminating in a hoof-shape - dun, and the other with a flat bottom -   Representations of Guanyin prior to the Song dynasty were masculine
           zun, as with the present example. Designed to cap a halberd or spear,   in appearance. By the Song dynasty, the bodhisattva was more often
           ferrules were lavishly inlaid with silver, turquoise or gold, a luxurious   portrayed with androgynous characteristics, and this pose, with raised
           testament to the owner’s prestige and elite status in society.  right leg and pendant left leg, with the weight supported by the left
                                                             hand became popular. This posture accentuated the smooth lines and
                                                             elegant form of Guanyin, giving rise to figures in this pose being called
                                                             Zizai Guanyin, Guanyin at ease.

                                                             A similar gilt-bronze figure seated on a stepped four-legged dais in the
                                                             collection of the Freer Gallery of Art, Washington D.C., is illustrated by
                                                             Hugo Munsterberg, Chinese Buddhist Bronzes, Tokyo, 1967, pl. 69;
                                                             and another similar example also with a grotto was exhibited by J.J.
                                                             Lally & Co., Buddhist Sculpture from Ancient China, March 10-31,
                                                             2017, cat. no. 19.
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