Asian Arts

12th century Buddhist bronzes from the Dali Kingdom in Yunnan have always held a special fascination for connoisseurs.  Not as well-known in western circles as 15th-18th century Tibeto-Chinese gilt-bronze sculpture, or Ming and early Qing Buddhist bronzes originating from the Jiangnan regions, the elegance and sophistication of bronzes from Yunnan call for a greater appreciation. Furthermore, the diversity of manifestations of deities, particularly with regards to the Bodhisattva Avalokiteshvara, are worthy of in-depth study.

In the West, the most discussed of the sculptural forms of Avalokiteshvara from the Dali kingdom is the “Acoyue Guanyin”, considered a palladium of the kingdom, showing clear influences of Indian sculpture. Lesser-studied Yunnanese types, such as the present bronze, tend to be more elaborate, with various aspects also drawn from Indian iconography, particularly from Pali sculpture, such as tall multi-leaf diadems and elaborate bodhisattva jewelry, but also incorporating distinctly Chinese traits. This group of bronzes is often typified by a sweetness of expression, with forward-facing almond-shaped eyes, elegant flowing draperies, and jewelry incorporating floret links and heavy pendant drops. Many of these bronzes are mercury-gilt, adding to their magnificence, however other examples, such as the present work, were originally gilt-lacquered. 

The form of Avalokiteshvara/Guanyin with a willow branch is a distinctly Chinese manifestation, likely originating in the sixth century, and generally not appearing after the 13th century.  For a 12th century standing figure of Guanyin in the Yunnan Provincial Museum, Kunming, holding a lobed bowl in one hand and an upright, feather-like willow branch in the other, similar to the present lot, see Albert Lutz et al, “Der Goldschatz der Drei Pagoden, Buddistische Kunst des Nanzhao- und Dali-Konigreichs in Yunnan, China, Zurich”, 1991, p. 177, no. 51. Compare also the 12th century seated figure of Avalokiteshvara with willow branch and bowl, ibid, p.181, no. 55.  For a seated figure with tall crown, floret-garland chains draped across the knees, flowing robes, holding a willow branch and bowl, similar to the present work, see the Guanyin in the collection of The Art Institute of Chicago, dated to the 14th century, but likely earlier, accession no. 1926.267.  See also the magnificent multi-armed seated Avalokiteshvara, dated to the 11th-12th century, in the collection of the Metropolitan Museum of Art, New York, with similar tall crown, elegant robes, floret necklace with heavy pendants, and floret-garland chains draped across the knees, accession no. 56.223.  Compare also the eleven-headed Guanyin, dated from the 12th-14th century, with similar robes, necklace and chains across the knees, sold at Christie’s, New York, March 22, 2013, lot 1261.

長久以來，收藏界對十二世紀的雲南大理王朝銅佛造像趨之若鶩。不同於早已聞名西方的十五至十八世紀藏傳鎏金佛造像或明末清初江南佛造像，雲南系銅造像之優雅別緻，似乎對於觀者審美要求非同尋常。更有甚者，諸神之法相，尤以觀世音為鑒，則不可不察也。

於西方而言，“阿嵯耶觀音”无疑是大理王朝造像最为彰然之质，王朝守護者的形象，昭示印度造像之影響。其作為王朝守護者，印度造像之影響頗有可觀。而若此尊精美如斯者，至若層疊高冠，寶珠錦衣，雖于藏界讨论中隐隐，無傷於其並畜古印度巴利之風與中原佛法。是類造像常以秀骨清相玉面杏眼為徵，又以華服珠玉環佩加身。其類多鍍以水銀，以彰其重，然是尊造像非其凡品，以金漆身。

觀世音持楊柳為中原佛造像之典範，濫觴於公元六世紀，而於十三世紀之後不復見。昆明雲南省博物館藏有一尊十二世紀觀音立像，一手持蓮瓣瓶，另一手持羽毛狀柳葉，與是次拍品極為相類，見書Albert Lutz et al, “Der Goldschatz der Drei Pagoden, Buddistische Kunst des Nanzhao- und Dali-Konigreichs in Yunnan, China, Zurich”, 1991, p. 177, no. 51 另見一例十二世紀持楊柳與缽之觀音坐像，見書ibid, p.181, no. 55 另一持相似柳葉高冠長袍坐像並有花環垂膝，現藏於芝加哥藝術館，編號1926.267，官方斷代為十四世紀，但年代疑似更早。另見一例銅鎏金千手千眼觀音，有相似高冠，華服加身，頸帶花環寶珠，有甚者垂掛至膝，現藏於紐約大都會博物館，編號56.223。另見一例十一面觀音，斷代12至十四世紀，長袍，項鏈均相類，釋出於紐約佳士得2013年3月22日，拍品編號1261.