PRINTPROVENANCE:
Private Collection of J. Sauveniere (1913-2000) Sotheby's, Paris
Private Collection of J. Sauveniere (1913-2000) Sotheby's, Paris
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647
A QIANLONG IMPERIAL GILT BRONZE FIGURE OF MAITREYA
18th Century |
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H: 20.4 cm |
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Estimate
1,200,000 - 1,800,000 38,200 - 57,300 296,000 - 444,000
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Catalogue Note
A Qianlong Imperial Gilt Bronze Figure of Maitreya
18th Century
This gilt bronze figure of Maitreya is an artwork of Qing Qianlong period. Maitreya, also know as ‘Ci Shi’ in Chinese, is one of the Eight Great Bodhisattvas. According to Buddhist texts, Maitreya often sits in his heavenly palace in the Tushita paradise, teaching the pure dharma to deities and lamas, as a Bodhisattva. After Gautama Buddha got nirvana, Maitreya became the successor to him. He will appear in the future, at a time when the Buddha's teachings have been forgotten, and reintroduce his teachings to the world, as a Buddha.
This particular figure appears to be a figure of Maitreya as a Bodhisattva. His face is peaceful and gracious with downcast eyes and brows. The deity is seated on a stepped rectangular base with a constricted band, dressed in a robe draped over the left shoulder and gathering folds above the feet, the serene expression flanked by a pair of long pendulous earlobes and surmounted by tightly knotted hair and an ushnisha, with traces of engraved floral decoration on the edges of the robe. On his head he wears a five-pointed crown and a stupa atop the high jatamukata, the long plaited hair cascading down the back, with hands raised in dharmachakra mudra. The figure is heavy and shiny with graceful posture full of dynamics.
The characteristics of Qing gilt artworks is pursing a splendid and sumptuous effect rather than the antique style, and the technique of gild during this period is highly sophisticated as well. Figures of Buddha can maintain the golden glittering without it fading, unlike those of the previous generations. Figures of Qianlong period are mostly made of bronze, went through repeated smelting which makes the bronze pure and dense. The body of the figure is heavy because of the thickness. When struck it releases a clear ringing sound, like a piece of musical instrument. This figure shows obvious features of Qianlong period, among which the most noteworthy one being the decoration on the body of the Bodhisattva including the coronet, the ushnisha, the ear rings, the strings of jades and pearls and various bracelets. The craft is so exquisite that every little detail is fastidiously done. The merits of figure making of that period are efficiently demonstrated on this piece.
During Qianlong period, The Buddhist Canon of Iconometry was translated into Chinese; Qianlong also collaborated with Changkya Rolpe Dorje to edit The Collection of Three Hundred Figures of Buddha. At that time the making of figures of Buddha was already strictly conformed to these rules and models. Due to the importance Qianlong attached to figures of Buddha, the scale of court making figures was so grand, the events so frequent, the number of evolved craftsmen so huge, the quality of those figures of Buddha so high, making it unparalleled.
Figures of Buddha were the essential products in the market dealing during Qing Qianlong period. They are also the first choice of many collectors. This figure shows exquisite craft and wonderful design, a representative of Qianlong artworks with good auction records, which makes it highly worth collecting.
18th Century
This gilt bronze figure of Maitreya is an artwork of Qing Qianlong period. Maitreya, also know as ‘Ci Shi’ in Chinese, is one of the Eight Great Bodhisattvas. According to Buddhist texts, Maitreya often sits in his heavenly palace in the Tushita paradise, teaching the pure dharma to deities and lamas, as a Bodhisattva. After Gautama Buddha got nirvana, Maitreya became the successor to him. He will appear in the future, at a time when the Buddha's teachings have been forgotten, and reintroduce his teachings to the world, as a Buddha.
This particular figure appears to be a figure of Maitreya as a Bodhisattva. His face is peaceful and gracious with downcast eyes and brows. The deity is seated on a stepped rectangular base with a constricted band, dressed in a robe draped over the left shoulder and gathering folds above the feet, the serene expression flanked by a pair of long pendulous earlobes and surmounted by tightly knotted hair and an ushnisha, with traces of engraved floral decoration on the edges of the robe. On his head he wears a five-pointed crown and a stupa atop the high jatamukata, the long plaited hair cascading down the back, with hands raised in dharmachakra mudra. The figure is heavy and shiny with graceful posture full of dynamics.
The characteristics of Qing gilt artworks is pursing a splendid and sumptuous effect rather than the antique style, and the technique of gild during this period is highly sophisticated as well. Figures of Buddha can maintain the golden glittering without it fading, unlike those of the previous generations. Figures of Qianlong period are mostly made of bronze, went through repeated smelting which makes the bronze pure and dense. The body of the figure is heavy because of the thickness. When struck it releases a clear ringing sound, like a piece of musical instrument. This figure shows obvious features of Qianlong period, among which the most noteworthy one being the decoration on the body of the Bodhisattva including the coronet, the ushnisha, the ear rings, the strings of jades and pearls and various bracelets. The craft is so exquisite that every little detail is fastidiously done. The merits of figure making of that period are efficiently demonstrated on this piece.
During Qianlong period, The Buddhist Canon of Iconometry was translated into Chinese; Qianlong also collaborated with Changkya Rolpe Dorje to edit The Collection of Three Hundred Figures of Buddha. At that time the making of figures of Buddha was already strictly conformed to these rules and models. Due to the importance Qianlong attached to figures of Buddha, the scale of court making figures was so grand, the events so frequent, the number of evolved craftsmen so huge, the quality of those figures of Buddha so high, making it unparalleled.
Figures of Buddha were the essential products in the market dealing during Qing Qianlong period. They are also the first choice of many collectors. This figure shows exquisite craft and wonderful design, a representative of Qianlong artworks with good auction records, which makes it highly worth collecting.