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国内拍卖首页 > Galerie Zacke > 亚洲艺术集珍 - 第一天 > Lot 0035
A PARCEL-GILT COPPER FIGURE OF KETUMATI MAITREYA, TIBET, 13TH-14TH CENTURY, EX ULRICH VON SCHROEDER
奥地利
04月16日 下午5点 开拍 /14天1小时
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拍品描述
Seated in pralambapadasana (extended legs posture) on a stepped throne with his feet resting on a lotus blossom, the hands held before the chest in dharmachakra-mudra (turning the wheel of the doctrine), awaiting for the prophesized moment when he will descend from his heavenly abode of Tushita and into the earthly realm of Ketumati to be the next Buddha. The deity is dressed in a voluminous uttarasanga with neatly incised hems which covers the left shoulder and crosses the chest diagonally, wrapping around the back and falling over the right shoulder, partially revealing the muscular gilt body underneath.The face with a meditative expression with heavy-lidded downcast eyes below gently arched brows centered by an urna, flanked by ears with pendulous lobes, and hair arranged in tight curls over the domed ushnisha surmounted by a jewel-form lotus bud, all framed by a lightly incised, almond-shaped mandorla.The unsealed figure still holds a few rolls of prayers inside. Provenance: Collection of Dr. Norbert Deuchert, Heidelberg, Germany. Koller Auctions, Zurich, 7 December 2016, lot 114 (mid-estimate CHF 30,000 or approx. EUR 39,000 converted and adjusted for inflation at the time of writing). The Ulrich von Schroeder Collection, acquired from the above in 2017. The back with a label from the Ulrich von Schroeder Collection, inscribed '2017 02'. Dr. Norbert Deuchert (b. 1943) is a German historian who served as the Director of Museum Villa Rot from 1992 to 2007. Deuchert studied history, philosophy, political science, and art history, and received his PhD in modern history from the University of Tübingen in 1982. His research focused on German cultural history and the art history of Asia. From 1989 onward, he developed the conceptual framework of the Museum Villa Rot under the guiding principle of “encounter between cultures,” with a particular emphasis on Asian art. He directed the museum until the end of 2007, establishing it as an institution of international renown. A distinguished art historian and collector, Ulrich von Schroeder (b. 1943) is one of the most influential figures in the study of Himalayan art. Inspired by his great-great-uncle, the Indologist Leopold von Schroeder, he first traveled to Nepal at age 22, initiating a lifelong commitment to the study and documentation of Himalayan artistic traditions. Frustrated by the inconsistent dating and stylistic attributions in art publications of the 1960s and 1970s, von Schroeder undertook a rigorous four-year study that culminated in the 1981 publication of Indo-Tibetan Bronzes, the first comprehensive chronology of Tibetan metal sculpture. This was followed by his two-volume magnum opus, Buddhist Sculptures in Tibet (2001), documenting over 1,000 bronzes in previously inaccessible monasteries, and Nepalese Stone Sculptures (2019), a monumental survey of nearly 3,000 Hindu and Buddhist stone sculptures in Nepal. To this day, von Schroeder's publications remain the only reliable encyclopedias on their subjects.Published: Himalayan Art Resources, item number 204607.Condition: Good condition with old wear and casting irregularities. Small dings, surface corrosion, scattered nicks and scratches, old repairs with associated fills to the back of the pedestal, and signs of tactile worship including rubbing and losses to gilt. The base unsealed.Weight: 579.2 g Dimensions: Height 14.9 cmMaitreya's position in the Buddhist pantheon is unique. He is worshiped both as a bodhisattva in this age and as the Buddha of the next, destined to succeed the historical Buddha after descending from the Tushita Heaven. The Ketumati Pure Land is the earthly paradise that will be presided over by Maitreya at the time of his descent as a Buddha. According to texts, the world will be in a blissful and peaceful state when Maitreya finally appears as the presiding Buddha: there will be no thieves or robbers, no famine because rain will come in due season and crops will be plentiful, and no disease or danger of fire. Traditionally, Maitreya was depicted in royal regalia, adorned with a crown and regal robes, reflecting his status as a bodhisattva. However, during the revival of the Maitreya cult in the 7th century, his portrayal shifted to that of the future Buddha, where he is depicted in monastic robes, symbolizing his impending role as a spiritual leader. Due to this shift, far fewer depictions of Maitreya as the Future Buddha exist.The existing iconography of the present work, specifically the hand positions and the throne with lotus footrest, suggest the figure represents Buddha Shakyamuni or the Future Buddha, Maitreya. He is seated in a posture known as bhadrasana (auspicious posture) or pralambapadasana (extended legs posture), which is found in Indian art as early as the Kushan period. In Himalayan art, the pose is usually reserved for images of Buddha or Maitreya preaching in their respective heavens. In the major monasteries of Tibet, such as Tashilhunpo or the Jokhang at Lhasa, the largest and most central image is of Maitreya in bodhisattva form, seated on a throne with a lotus foot rest and his hands in dharmachakramudra. While the present work is unusual in that Maitreya is in his Buddha form, there is nonetheless a close affinity with these large monumental images.Although the combination of pralambapadasana and dharmachakra-mudra is most frequently associated with Maitreya, it should be noted that this iconographic formula, when accompanied by a crown, may also depict Shakyamuni preaching his first sermon at the Deer Park in Sarnath. This alternative interpretation is documented by von Schroeder in Buddhist Sculptures in Tibet, vol. 1, Hong Kong, 2001, p. 110-111, pl. 20, where a comparable crowned example is illustrated. The present sculpture, by contrast, lacks such ornamental elements. Its austere modeling places it within a corpus of ungilt, monastic works produced in Central Tibet during the 13th and 14th centuries. The unembellished rendering of the robe's hems, the discreet suggestion of the body beneath the drapery, and the carefully shaped pedestal together anchor the sculpture firmly within this restrained ecclesiastical tradition.Literature comparison: Compare a closely related Tibetan cold-gilt brass figure dated 12th-13th century, illustrated by Ulrich von Schroeder, Buddhist Sculptures in Tibet, vol. 2, Hong Kong, 2003, p. 1146, pl. 300, fig. 300A. Compare a related earlier Nepalese parcel-gilt copper figure of Ketumati Maitreya, dated 11th-12th century, in the Asia Society, New York, accession number 1983.1.Auction result comparison: Type: RelatedAuction: Christie's New York, 19 March 2014, lot 1017Price: USD 317,000 or approx. EUR 370,000 converted and adjusted for inflation at the time of writing: A large gilt bronze figure of Buddha Maitreya, Tibet, circa 16th centuryExpert remark: Compare the related subject and modeling with similar tiered pedestal and voluminous robes. Note the larger size (45 cm), later dating, and gilding.Auction result comparison: Type: Related Auction: Christie's Hong Kong, 3 November 2025, lot 2017 Mid-Estimate: HKD 3,750,000 or approx. EUR 403,000 converted at the time of writing : A copper alloy figure of Maitreya, Nepal or Tibet, 11th century Expert remark: Compare the related subject, modeling, and manner of casting. Note the larger size (45.7 cm), earlier dating, and standing pose.

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