Lot 107 十七世紀 德化白釉觀音坐像 | A DEHUA FIGURE OF A SEATED GUANYIN

十七世紀 德化白釉觀音坐像 | A DEHUA FIGURE OF A SEATED GUANYIN

17th century

HKD 60,000

HKD 60000 - 80000

未知

未知

17th century
The Goddess of Mercy modelled in a relaxed seated pose with the right hand resting on the right leg tucked beneath her, the left hand extended open from the left arm resting on a table with lion-heads forming the legs, the eyes gently downcast beneath a long robe covering the head and falling in flowing folds to surround the body. Fitted box. 19cm (7 1/2in) high
Footnotes
十七世紀 德化白釉觀音坐像
Provenance:
Bonhams London, 8 November 2012, lot 129
來源：
倫敦邦瀚斯，2012年11月8日，拍品編號129
Compare a related Dehua figure of Guanyin, He Chaozong mark, late Ming dynasty, in the Qing Court Collection, previously located at the Buddha Hall of the Palace of Compassion and Tranquility (Cining Gong), in the Palace Museum, Beijing, illustrated in Dehua Wares Collected by the Palace Museum, vol.I, Beijing, 2016, no.19; and a Dehua figure of Guanyin seated on rocks with very similar facial features, Qing dynasty, published in , no.35.
Figures of Guanyin portrayed leaning against a small stand or armrest represent a particularly refined iconographic variation within the Dehua tradition, evoking the contemplative ease of the Water-Moon Guanyin. Master potters at the Dehua kilns demonstrated exceptional technical skill in balancing the asymmetric posture of the leaning torso while capturing the naturalistic drop and fluid weight of heavy fabric draped over miniature furniture elements. The present figure is a particularly fine example evident in the sculptor placing the figure atop the sharply modelled openwork rockwork, the carefully detailed arm-rest with lion arms, and even the balance between the cowl swept to the left and the robes cascading over the rockwork to the right.
可比較清宮舊藏一尊明末德化白釉「何朝宗」款觀音立像，原陳設於慈寧宮佛堂，現藏於北京故宮博物院，著錄於《故宮博物院藏德化窯瓷器（上）》，北京，2016年，拍品編號19；亦可參考同一著錄中另一尊清代德化白釉倚岩觀音坐像（編號35），其面貌特徵與本品極為相似。
採憑几或倚扶手而垂之姿的觀音像，為德化瓷塑傳統中極具雅致特色之造像式樣，隱喻水月觀音靜觀思惟之悠然神韻。德化窯瓷雕大師展現出絕倫之技藝，既完美平衡了身軀傾倚之非對稱姿態，又精妙捕捉到厚重衣袍披覆於微型家具上自然垂墜之質感，既流暢，又富質感。本尊造像堪稱此類式樣之精彩傑作，尤見於雕刻家將造像置於線條銳利之透雕山石之上、對帶獅首倚靠憑几之精細刻畫，以及將向左側傾斜之頭巾與向右側如瀑垂落於山石上之衣褶之間所達成之微妙平衡。