A parcel-gilt bronze seated figure of Crowned Buddha


QianlongSeated in dhyanasana on a double lotus base, clad in a sanghati with incised foliate borders, his right hand hand in bhumisparsha mudra, the left hand holding a bowl, the broad face with a contemplative expression articulated by a pointed nose and downcast eyes, crowned with an elaborate five-petalled tiara, each petal with a Buddha seated on a lotus flower, the sealed base with a vishvavajra, box. 36cm (14 1/8in) high. (2).
|清乾隆 銅鎏金寶冠佛Provenance:A private Hong Kong collection, acquired in 1990來源：香港私人收藏，蒐集於1990年The present figure represents the Qianlong emperor's devotion to Tibetan Buddhism and his patronage of Tibetan Buddhist art. After the Manchu established their capital at Beijing, Tibetan Buddhism played a political role in the Qianlong emperor consolidation of his rule over Tibet and Mongolia. Buddhist figures and ritual implements of the Qianlong period were often an amalgam of Tibetan and Imperial styles, as exemplified in the present lot.Whilst the present lot appears to be unique in its type, the relatively large scale of the Buddha and the separately and elaborately cast crown display a number of similarities with other sculptures attributed to the Dolonnor workshop of Inner Mongolia, see two examples also with five-leaf crown cast separatelym from the Kandell collection, illustrated in A Shrine for Tibet, New York, 2010, pp.67 and 134, nos.I-110 and II-19.乾隆時期是藏傳佛教發展的高峰期，乾隆皇帝亦在周邊地區興建藏傳佛教寺院，藏傳佛教成為乾隆皇帝鞏固對西藏及蒙古各族統一的政治宗教手段。宮中祭拜及興建廟宇，提高了佛教藝術及佛造像的需求，隨而北京及蒙古地區的御用作坊在此時期非常活躍。釋尊結全跏趺坐，左手置腹前持一缽，右手指地，施「觸地印」，意表釋迦牟尼於菩提樹下成道，召喚地神見證之手印，頭戴寶冠，上飾東、南、西、北、中、共五方佛陀，面容沉靜且威嚴，其右肩赤裸，身穿禪衣厚重，與西藏式樣不同，更多具清代乾隆時期造像風格。其佛冠採用單獨鑄造，且裝飾精美，亦或受內蒙古多倫諾爾風格影響，見Kandell收藏中兩尊十八世紀多倫諾爾風格造像，其寶冠可資比較，見《A Shrine for Tibet》，紐約，2010年，頁67及134，編號I-110及II-19.