拍卖信息

藏品描述

品体量高大恢弘，气势撼人，身姿为自在观音的经典造型样式，左腿盘坐 石腿自然前伸，脚下踩一朵连化，稳坐干山石形台座之上，上身挺直，左手抬起，右手拇指 中指轻拈，于胸前结法印，体态匀称，造型优美雍容。 尊像面容端正饱满，双目微合，神态寂静慈祥，亦不失威严，带有男相所特有的俊朗与英气: 头戴五叶宝冠，中间装饰有小化佛，是为观音菩萨的标志;耳后饰有宝缯，耳下队耳铛;头顶高发髻，髻上有摩尼宝珠，余发束辫，披于两肩并向两侧飘动，髮丝刻画精细，富有韵律感。胸前饰伞状连珠式璎珞，佛光宝气，精美异常。上身着双领下垂式天衣，下身着僧裙，裙裾束于腹前，下摆自然下垂，两侧各有一飘带飞扬而起，将织物的柔软质感表现得淋漓尽致。天衣与裙裾边缘均錾刻精美锦地莲花卷草纹饰，工艺极为细致。造像法身胎体颇为厚重，底部磨损处可见铜质精炼，灿若黄金，通体鎏金亦十分厚重，可谓宝光璀璨。 对这尊造像，首先值得注意是它的风格和年代。根据其整体风格特点和高超的雕塑及铸造技艺，此像制作年代应当在明代早期，因为这一时期是明代政治、经济和文化艺术发展的重要时期，也是藏传佛教艺术流行的高峰时期，完全具足此像创作上博采众长的艺术条件;而其产地应当为当时的皇家寺庙，出自皇家工匠之手，因为如此大体量和高水平的艺术作品绝非一般民间工匠所为，也绝非一般民间寺庙所能供奉。 这尊水月观音像是一尊明代早期的中原风格造像，它融合了汉藏艺术之优长，造型完美，法相庄严，工艺精湛，体量巨大，气势恢弘，充分展现了明代皇家艺术气象，虽然它晚出周昉首创水月观音像500余年，但从其丰腴的身躯、端严的形象和柔丽的衣纹，我们仍然可以感受到周昉当年造像的遗韵。His body was tall and imposing, and his posture was in the classic style of Avalokitesvara. His left leg sat cross-legged with the stone leg stretched out naturally. He stepped on a lotus flower under his feet and sat firmly on the dry mountain stone pedestal. His upper body was straight, and his left hand was raised, the middle finger of the thumb of the right hand lightly nianlian, in the chest knot seal, body symmetry, elegant and graceful shape. His face is full and straight, his eyes are slightly closed, and his expression is quiet and kind. He has the handsome and heroic features of a man. He wears a five-leaf crown with a small Buddha in the middle, which is the symbol of a Avalokiteśvara The hair is decorated with jewels behind the ears and has a high bun on the top of the head. It is adorned with maniche beads and has a long braid that floats on both sides of the shoulder. The hair is finely carved and rhythmic. The ornament on the chest is of an umbrella-shaped beaded type, with a precious aura of Buddha. She was wearing a double-necked, drooping-style gown and a monk's skirt. The train of the skirt was tied to the front of her abdomen. The hem naturally drooped, and two streamers fluttered on each side, showing the softness of the fabric to its fullest extent. Tianyi and the edge of the train are carved fine brocade lotus scroll grass patterns, the process is very meticulous. Statue body body is quite thick, wear at the bottom of the copper can be seen refining, if gold, all body gilding is also very thick and heavy, it can be called Baoguang Bright.The first thing to note about this statue is its style and age. Based on its overall style and superb sculpture and casting skills, the statue should have been made in the early Ming dynasty, which was an important period for the development of politics, economy, culture and art, it was also the peak of the popularity of Tibetan Buddhist art, and it fully met the artistic conditions of drawing on the talents of the people in the creation of this statue; and its place of production should be the royal temple at that time, which was made by the royal craftsmen, because such a large volume and high-level works of art is not the ordinary folk craftsmen, nor the ordinary folk temple can be worshipped. This water moon goddess of mercy statue is an early Ming dynasty statue in the style of Central Plain. It combines the virtues of Han and Tibetan art with perfect form, solemn dharma, exquisite craftsmanship, huge size and magnificent momentum, although it was founded more than 500 years later by Zhou Fang, the statue of the goddess of mercy on the moon, with its voluptuous body, stern image and soft dress patterns, is a perfect example of the Ming Dynasty's royal art scene, we can still feel the echoes of Zhou Fang's statue.