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A HIGHLY IMPORTANT MONUMENTAL IMPERIAL GILT-BRONZE FIGURE OF VAJRABHAIRAVA
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Description
(NOTE: Livebidding on this lot is not possible.)
A HIGHLY IMPORTANT MONUMENTAL IMPERIAL GILT-BRONZE FIGURE OF VAJRABHAIRAVA
China, Chenghua mark and period, dated 1473
H. 94 cm / 169 kg
The base inscribed:
"Daming chenghua jiu nian shiyi yue chu‘er ri anxigong shi" (Bestowed by the Anxi Palace on the second day, eleventh month, ninth year of the Chenghua period [1473]).
Vajrabhairava is standing in alidhasana on a lotus base, his thirty-four arms radiate around his body, the hands holding the prescribed attributes, weapons and mudras, the principle ones embracing his prajna while holding karttrika and kapala, wearing tiger-skirt, heavily bejewelled, with sixteen legs, his nine faced-head consisting of the central ferocious looking bull-head flanked by six wrathful faces placed in a circle, topped with two more heads including that of Manjushri set against his red painted flaming hairdo secured with tiara’s in the shape of grinning skulls, his consort Vajravetali is flinging her left leg around his middle, her hands holding kapala and chopper and behind a large aureole forming leaking flames.
Manjushri assumed the buffalo-headed form of Yama, the god of Death, in order to conquer Death. Due to taking-on multiple limbs and heads he manifested himself greater than Yama.
Thus overwhelming Yama, he stops his killing activity and becomes the terminator of Death (yama-antaka). In Tibetan Buddhism there are three forms of Yamantaka of which
Vajrabhairava is the best known, most powerful, as represented by this gilt-bronze image.
The deity Vajrabhairava has acquired a special flavour amongst most Tibetan religious schools. During the New Year festivals he was evoked and propitiated according to the
Saskyapa method in special ceremonies performed by both Saskyapa and Nyingmapa followers. These festivities were a mixture of pre-Buddhist military ceremonies, shamanistic dances of exorcism, as well Buddhist rituals.
However, Vajrabhairava reached his finest momentum within the Gelugpa order founded by the Tibetan master Tsongkhapa (1357-1419). The latter dedicated even a text to this specific deity where he lucidly explained the symbolism of his various heads, limbs and attributes. The Tibetan teacher systemized further his complex iconography. In particular the specific arrangement of the seven heads in a circle topped by both others were pointed out by him. The presented sacred image shows this aspect perfectly well in all its magnitude.
A direct imperial link of this superb bronze is based on an extremely rare and lengthy inscription engraved on the base. It mentions that it was donated by the Anxi Palace during the reign of emperor Chenghua (1465-1487). Even rarer is the specific date contained in the inscription, namely: the second day of the eleven month in the ninth year of the Chenghua period, or 2 November 1473 (daming chenghua jiu nian shiyi yue chu’er ri anxigong shi).
To date, only two imperial objects are known that can be connected to the Anxi palace through their detailed inscription. Aside from this monumental bronze, the other piece is an embroidery depicting Buddha, dated to the birthday of the Chenghua emperor in the year 1471. One famous occupant of the Anxi palace was Wan Guifei, born as Wan Zhen'er (1430-1487), who moved there not until 1476 however. After her move, her rank was raised from 'guifei' (noble concubine) to 'huang guifei' (Imperial noble concubine), granting her de facto the same status as the crown prince's primary wife.
The Anxi palace was located next to the central palace of the empress, meaning that each occupant must have had at least the rank of 'guifei'. There are no known records of a second concubine of the same rank as Wan Guifei. However, an archaeological find near Mount Xishan in Beijing in 1998 brought the epitaph of Zhu Youji (1469-1472) to light. This epitaph mentions that his mother, Lady Bai, was the daughter of Bai Zhen, head of the 'jinyiwei' office, as well as a concubine of the rank 'guifei'. In 1464, she became a concubine of emperor Chenghua, reached the rank of 'fei' in 1466 and gave birth to zhu Youji in 1469. She was the only concubine to be buried in the same tomb as the emperor and his wife, when she died in 1527. Zhu Youji was the second son of the emperor. Wan Zhen'er was the mother of the first son, born in 1466, after which she received the rank of 'guifei'. However, the child died within the same year. Thus, when Zhu Youji was born, he was the only son of the emperor and subsequently named crown prince on 16 Nov 1471. He died only a few months later due to illness on 26 Jan 1472.
The style of this highly important bronze is based on the Newari tradition developed in Beijing during the Yuan dynasty (1279-1368). The Tibetan abbot Phagspa (1235-1280) of the Saskyapa monastery and personal teacher of the Kublai Khan invited the Newari artist Aniko (1244-1306) to Beijing in 1263 where he was appointed head of the imperial bronze ateliers. At the beginning the mainly Newari craftsmen followed the Tibetan Buddhist iconography and stylistic preferences of those days. These specific iconographic elements were largely retained during the subsequent Ming dynasty (1368-1644). On the other hand the style itself became more sinicized in due course as one can glean from the presented bronze figure. Clearly this was the result of a stronger involvement of local Chinese artisans who had replaced the Newari craftsmen over time.
This impressive, esoteric sacred image is of an enormous high complexity for such sculptural forms and shows the exceptional dexterity of Chinese craftmanship during the fifteenth century. The figure is cast in several pieces, skilfully assembled to form a coherent and rhythmic composition. Further its monumental size, level of detail, the rare inscription that the bronze was produced during the reign of emperor Chenghua and donated by the Anxi Palace in 1473, makes it beyond doubt one of the most important gilt-bronzes to appear on the market for many years.
Measurements:
Base: 14 x 62 x 47 cm
Mandorla: 80 x 60 x 12 cm
Figure: 64 x 51 x 32 cm
Weight:
Base: 43 kg
Mandorla: 32 kg
Figure: 94 kg
Gumpel Collection, Paris, sold Drouot, 24 November 1904, lot 469
Alan Hartman New York, 1975
Important European private collection
Just a very few of these large and monumental, fifteenth century, gilt-bronzes survived man and time. A small though astonishing group of large-scale gilt-bronzes, including the presented lot, was already offered at an early, important sale of Asian art at Hotel Drouot, Paris, in 1904 from the Collection Gumpel, lot 468.
Among the group were two other
(HINWEIS: Auf dieses Los kann online nicht geboten werden.)
Bedeutende und monumentale feuervergoldete kaiserliche Bronze des Vajrabhairava
China, Chenghua-Marke und Periode, datiert 1473
H. 94 cm / 169 kg
Der Sockel mit Inschrift:
"Daming chenghua jiu nian shiyi yue chu'er ri anxigong shi" (Gestiftet vom Anxi-Palast, am zweiten Tag des elften Monats des neunten Jahres der Chenghua-Periode [1473]).
Vajrabhairava steht in alidhasana auf einem Lotossockel, seine 34 Arme strahlen kreisförmig vom Körper ab, die Hände mit vorgeschriebenen Attributen, Waffen und Mudras, die wichtigsten umarmen seine Prajna, dabei Karttrika und Kapala haltend. Um die Hüfte trägt er einen reich geschmückten Tigerrock, auf sechzehn Beinen stehend. Sein Kopf trägt neun Gesichter mit dem zentralen Büffelkopf, flankiert von sechs zornvollen Gesichtern in einem Kreis, darauf zwei weitere Köpfe, darunter der des Manjushri vor seinem rot bemalten Haar, gesichert mit Tiaras in Form von grinsenden Schädeln. Seine Gefährtin Vajravetali schlingt ihr linken Bein um seine Taille, ihre Hände eine Kapala und Beil haltend, hinter einer großen Aureole aus Flammen.
Die mächtige, esoterische Gottheit Vajrabhairava repräsentiert sowohl die kosmische als auch die zornige Manifestation des Manjushri, Bodhisattva der Weisheit. Er steht für die resolute Weisheit der ultimativen Realität im Triumph über das Böse, das Leid und den Tod. Er ist ein Gott indischen Ursprungs, deutlich durch den Namensteil 'bhairava'. Er wird als Adaption des Mahabhairava in das buddhistische Pantheon verstanden, die wütende Form des Hindu-Gottes Shiva. Tatsächlich stellt Mahabhairava die kosmische Form Shivas dar, so wie Vajrabhairava jene des Manjushri ist. Seine acht Köpfe deuten auf die acht Richtungen hin, während der neunte (Kopf des Manjushri) das Zentrum des Universums symbolisiert. Die zahlreichen Arme und Beine durchdringen das Universum. Seine Beine zertrampeln diverse Kreaturen (hier fehlend) wie auch Shiva seinen kosmischen Tanz der Zerstörung auf einem Dämon tanzt. Der Namensteil 'vajra' ist das resolute Symbol der ultimativen Realität, welches sich als Mitgefühl äußert.
Manjushri nahm die büffelköpfige Form des Yama, Gott des Todes, an, um den Tod zu überwinden. Durch das Annehmen multipler Gliedmaßen und Köpfe manifestierte er sich größer als Yama und überwältigte ihn so, woraufhin er dessen Aktivitäten als Todesbringer beendete und zum Auslöscher des Todes wurde (yama-antaka). Im tibetischen Buddhismus gibt es drei Formen des Yamantaka, von denen Vajrabhairava die bekannteste und mächtigste ist.
Die Gottheit Vajrabhairava hat unter den meisten tibetisch-religiösen Schulen besondere Beliebtheit erlangt. Während des Neujahrsfestes wurde er in speziellen Zeremonien gemäß der Saskyapa-Methode heraufbeschworen und gnädig gestimmt. Diese wurden sowohl von Saskyapa- als auch Nyingmapa-Anhängern durchgeführt. Die Festivitäten waren eine Mischung aus prä-buddhistischen Militärzeremonien, schamanistischen Exorzismustänzen sowie buddhistischen Ritualen.
Seine größte Dynamik erreichte Vajrabhairava jedoch innerhalb des Gelugpa-Ordens, welcher vom tibetischen Meister Tsongkhapa (1357-1419) gegründet wurde. Letzterer widmete der Gottheit einen spezifischen Text, in welchem er die Symbolik der verschiedenen Köpfe, Extremitäten und Attribute klar erklärte und ihre komplexe Ikonographie systematisierte. Er deutete dabei ganz speziell auf die besondere Anordnung der sieben Köpfe in einem Kreis mit den beiden weiteren Köpfen als Spitze hin. Die hier gezeigte heilige Figur stellt diesen Aspekt vollumfänglich dar.
Die direkte kaiserliche Verbindung dieser prächtigen Bronze basiert auf der extrem seltenen und ausführlichen Inschrift, welche klarstellt, dass sie während der Chenghua-Periode vom Anxi-Palast gestiftet wurde. Noch seltener ist dabei die genaue Datierung auf einen bestimmten Tag, den zweiten Tag des elften Monats im neunten Jahr der Chenghua-Periode, oder: 2. November 1473.
Bis dato sind nur zwei kaiserliche Objekte bekannt, die durch eine entsprechend detaillierte Aufschrift mit dem Anxi-Palast in Verbindung gebracht werden können. Neben dieser monumentalen Bronzefigur handelt es sich dabei um eine im Shanghai-Museum befindliche Stickerei mit Darstellung des Buddha, welche auf den Geburtstag des Chenghua-Kaisers im Jahr 1471 datiert ist. Eine bekannte Bewohnerin des Anxi-Palastes war Wan Guifei, geb. Wan Zhen'er (1430-1487), welche jedoch erst 1476 aus dem Zhaode-Palast dorthin umzog. Ihr Rang wurde nach ihrem Umzug von 'guifei' (erhabene Konkubine) zu 'huang-guifei' (Kron-Konkubine) erhöht, wodurch sie de facto den gleichen Rang wie die Hauptfrau des Kronprinzen innehatte.
Der Palast Anxi lag direkt neben dem mittleren Palast der Kaiserin, weshalb dessen Bewohnerin zur Zeit des Chenghua-Kaisers zumindest den Rang 'guifei' innehaben sollte. Es sind keine Aufzeichnungen darüber bekannt, ob es neben Wan Guifei eine weitere Konkubine dieses Ranges im Palast gab, jedoch brachte eine Ausgrabung in der Nähe des Bergs Xishan in Beijing 1998 die Grabinschrift des ersten Kronprinzen Zhu Youji (1469-1472) hervor. Dieser Inschrift konnte entnommen werden, dass dessen Mutter, Frau Bai, eine Tochter des Leiters des 'Jinyiwei'-Amtes, Bai Zhen, und eine Konkubine des Ranges 'guifei' war. Sie wurde 1464 zur Nebenfrau des Kaisers Chenghua, erhielt 1466 den Titel 'fei' (Konkubine) und brachte 1469 Zhu Youji zur Welt. Sie wurde zur einzigen Konkubine, die neben Chenghua und dessen Kaiserin im kaiserlichen Grab erhielt, wo sie 1527 beerdigt wurde. Zhu Youji war der zweite Sohn des Kaisers. Den ersten Sohn gebar 1466 Wan Zhen'er, deren Titel daraufhin von 'fei' zu 'guifei' erhöht wurde. Das Kind starb jedoch noch im selben Jahr. Somit war Zhu Youji der einzige Sohn des Kaiser und somit Kronprinz, als er am 16.11.1471 geboren wurde. Auch er starb jedoch noch im Kindesalter am 26.01.1472.
Insofern liegt nahe, dass Zhu Youjis Mutter, Frau Bai, um 1471/72 im Anxi-Palast wohnte, da sie zu der Zeit den Titel 'guifei' trug, bevor auch Wan Zhen'er diesen Titel erhielt und schließlich 1476 dort einzog. Beide Stücke, die Stickerei im Shanghai-Museum und die hier angebotene Bronze könnten somit also Geschenke der hohen Konkubine Bai gewesen sein, um dem Kaiser ein langes Leben zu wünschen, da Vajrabhairava, der "Beender des Todes", auch als Gottheit für die Erlangung langen Lebens gesehen werden kann.
Stilistisch basiert diese bedeutende Figur auf der Newari-Tradition, welche sich in Peking während der Yuan-Dynastie (1279-1368) entwickelte. Der tibetische Abt Phagspa (1235-1280) des Saskyapa-Klosters und persönlicher Lehrmeister von Kublai Khan lud den Newari Künstler Aniko (1244-1306) 1263 nach Peking ein, wo er zum Leiter der kaiserlichen Bronzewerkstatt ernannt wurde. Zunächst folgten die Newari-Kunsthandwerker der Ikonographie des tibetischen Buddhismus und den stilistischen Präferenzen ihrer Zeit. Diese speziellen ikonographischen Elemente wurden während der folgenden Ming-Dynastie (1368-1644) größtenteils beibehalten, jedoch wurde der Stil selbst sinisierter, wie auch an dieser Bronze deutlich wird, was wiederum auf die zunehmende Mitwirkung der lokalen chinesischen Kunsthandwerker zurückzuführen ist, welche mit der Zeit ihre Newari-Pendants ersetzten.
Diese Bronzefigur des Vajrabhairava zeigt eine enorm hohe Komplexität in Bezug auf ihre skulpturalen Formen sowie das außergewöhnliche Geschick der chinesischen Kunstfertigkeit während des 15. Jahrhunderts. Die Figur wurde in mehreren Teilen gegossen und gekonnt zusammengesetzt, um eine stimmige und rhythmische Komposition zu formen.
Maße: Sockel: 14 x 62 x 47 cm; Mandorla: 80 x 60 x 12 cm; Figur: 64 x 51 x 32 cm; Gewicht: Sockel: 43 kg; Mandorla: 32
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(NOTE: Livebidding on this lot is not possible.)
A HIGHLY IMPORTANT MONUMENTAL IMPERIAL GILT-BRONZE FIGURE OF VAJRABHAIRAVA
China, Chenghua mark and period, dated 1473
H. 94 cm / 169 kg
The base inscribed:
"Daming chenghua jiu nian shiyi yue chu‘er ri anxigong shi" (Bestowed by the Anxi Palace on the second day, eleventh month, ninth year of the Chenghua period [1473]).
Vajrabhairava is standing in alidhasana on a lotus base, his thirty-four arms radiate around his body, the hands holding the prescribed attributes, weapons and mudras, the principle ones embracing his prajna while holding karttrika and kapala, wearing tiger-skirt, heavily bejewelled, with sixteen legs, his nine faced-head consisting of the central ferocious looking bull-head flanked by six wrathful faces placed in a circle, topped with two more heads including that of Manjushri set against his red painted flaming hairdo secured with tiara’s in the shape of grinning skulls, his consort Vajravetali is flinging her left leg around his middle, her hands holding kapala and chopper and behind a large aureole forming leaking flames.
Manjushri assumed the buffalo-headed form of Yama, the god of Death, in order to conquer Death. Due to taking-on multiple limbs and heads he manifested himself greater than Yama.
Thus overwhelming Yama, he stops his killing activity and becomes the terminator of Death (yama-antaka). In Tibetan Buddhism there are three forms of Yamantaka of which
Vajrabhairava is the best known, most powerful, as represented by this gilt-bronze image.
The deity Vajrabhairava has acquired a special flavour amongst most Tibetan religious schools. During the New Year festivals he was evoked and propitiated according to the
Saskyapa method in special ceremonies performed by both Saskyapa and Nyingmapa followers. These festivities were a mixture of pre-Buddhist military ceremonies, shamanistic dances of exorcism, as well Buddhist rituals.
However, Vajrabhairava reached his finest momentum within the Gelugpa order founded by the Tibetan master Tsongkhapa (1357-1419). The latter dedicated even a text to this specific deity where he lucidly explained the symbolism of his various heads, limbs and attributes. The Tibetan teacher systemized further his complex iconography. In particular the specific arrangement of the seven heads in a circle topped by both others were pointed out by him. The presented sacred image shows this aspect perfectly well in all its magnitude.
A direct imperial link of this superb bronze is based on an extremely rare and lengthy inscription engraved on the base. It mentions that it was donated by the Anxi Palace during the reign of emperor Chenghua (1465-1487). Even rarer is the specific date contained in the inscription, namely: the second day of the eleven month in the ninth year of the Chenghua period, or 2 November 1473 (daming chenghua jiu nian shiyi yue chu’er ri anxigong shi).
To date, only two imperial objects are known that can be connected to the Anxi palace through their detailed inscription. Aside from this monumental bronze, the other piece is an embroidery depicting Buddha, dated to the birthday of the Chenghua emperor in the year 1471. One famous occupant of the Anxi palace was Wan Guifei, born as Wan Zhen'er (1430-1487), who moved there not until 1476 however. After her move, her rank was raised from 'guifei' (noble concubine) to 'huang guifei' (Imperial noble concubine), granting her de facto the same status as the crown prince's primary wife.
The Anxi palace was located next to the central palace of the empress, meaning that each occupant must have had at least the rank of 'guifei'. There are no known records of a second concubine of the same rank as Wan Guifei. However, an archaeological find near Mount Xishan in Beijing in 1998 brought the epitaph of Zhu Youji (1469-1472) to light. This epitaph mentions that his mother, Lady Bai, was the daughter of Bai Zhen, head of the 'jinyiwei' office, as well as a concubine of the rank 'guifei'. In 1464, she became a concubine of emperor Chenghua, reached the rank of 'fei' in 1466 and gave birth to zhu Youji in 1469. She was the only concubine to be buried in the same tomb as the emperor and his wife, when she died in 1527. Zhu Youji was the second son of the emperor. Wan Zhen'er was the mother of the first son, born in 1466, after which she received the rank of 'guifei'. However, the child died within the same year. Thus, when Zhu Youji was born, he was the only son of the emperor and subsequently named crown prince on 16 Nov 1471. He died only a few months later due to illness on 26 Jan 1472.
The style of this highly important bronze is based on the Newari tradition developed in Beijing during the Yuan dynasty (1279-1368). The Tibetan abbot Phagspa (1235-1280) of the Saskyapa monastery and personal teacher of the Kublai Khan invited the Newari artist Aniko (1244-1306) to Beijing in 1263 where he was appointed head of the imperial bronze ateliers. At the beginning the mainly Newari craftsmen followed the Tibetan Buddhist iconography and stylistic preferences of those days. These specific iconographic elements were largely retained during the subsequent Ming dynasty (1368-1644). On the other hand the style itself became more sinicized in due course as one can glean from the presented bronze figure. Clearly this was the result of a stronger involvement of local Chinese artisans who had replaced the Newari craftsmen over time.
This impressive, esoteric sacred image is of an enormous high complexity for such sculptural forms and shows the exceptional dexterity of Chinese craftmanship during the fifteenth century. The figure is cast in several pieces, skilfully assembled to form a coherent and rhythmic composition. Further its monumental size, level of detail, the rare inscription that the bronze was produced during the reign of emperor Chenghua and donated by the Anxi Palace in 1473, makes it beyond doubt one of the most important gilt-bronzes to appear on the market for many years.
Measurements:
Base: 14 x 62 x 47 cm
Mandorla: 80 x 60 x 12 cm
Figure: 64 x 51 x 32 cm
Weight:
Base: 43 kg
Mandorla: 32 kg
Figure: 94 kg
Gumpel Collection, Paris, sold Drouot, 24 November 1904, lot 469
Alan Hartman New York, 1975
Important European private collection
Just a very few of these large and monumental, fifteenth century, gilt-bronzes survived man and time. A small though astonishing group of large-scale gilt-bronzes, including the presented lot, was already offered at an early, important sale of Asian art at Hotel Drouot, Paris, in 1904 from the Collection Gumpel, lot 468.
Among the group were two other
(HINWEIS: Auf dieses Los kann online nicht geboten werden.)
Bedeutende und monumentale feuervergoldete kaiserliche Bronze des Vajrabhairava
China, Chenghua-Marke und Periode, datiert 1473
H. 94 cm / 169 kg
Der Sockel mit Inschrift:
"Daming chenghua jiu nian shiyi yue chu'er ri anxigong shi" (Gestiftet vom Anxi-Palast, am zweiten Tag des elften Monats des neunten Jahres der Chenghua-Periode [1473]).
Vajrabhairava steht in alidhasana auf einem Lotossockel, seine 34 Arme strahlen kreisförmig vom Körper ab, die Hände mit vorgeschriebenen Attributen, Waffen und Mudras, die wichtigsten umarmen seine Prajna, dabei Karttrika und Kapala haltend. Um die Hüfte trägt er einen reich geschmückten Tigerrock, auf sechzehn Beinen stehend. Sein Kopf trägt neun Gesichter mit dem zentralen Büffelkopf, flankiert von sechs zornvollen Gesichtern in einem Kreis, darauf zwei weitere Köpfe, darunter der des Manjushri vor seinem rot bemalten Haar, gesichert mit Tiaras in Form von grinsenden Schädeln. Seine Gefährtin Vajravetali schlingt ihr linken Bein um seine Taille, ihre Hände eine Kapala und Beil haltend, hinter einer großen Aureole aus Flammen.
Die mächtige, esoterische Gottheit Vajrabhairava repräsentiert sowohl die kosmische als auch die zornige Manifestation des Manjushri, Bodhisattva der Weisheit. Er steht für die resolute Weisheit der ultimativen Realität im Triumph über das Böse, das Leid und den Tod. Er ist ein Gott indischen Ursprungs, deutlich durch den Namensteil 'bhairava'. Er wird als Adaption des Mahabhairava in das buddhistische Pantheon verstanden, die wütende Form des Hindu-Gottes Shiva. Tatsächlich stellt Mahabhairava die kosmische Form Shivas dar, so wie Vajrabhairava jene des Manjushri ist. Seine acht Köpfe deuten auf die acht Richtungen hin, während der neunte (Kopf des Manjushri) das Zentrum des Universums symbolisiert. Die zahlreichen Arme und Beine durchdringen das Universum. Seine Beine zertrampeln diverse Kreaturen (hier fehlend) wie auch Shiva seinen kosmischen Tanz der Zerstörung auf einem Dämon tanzt. Der Namensteil 'vajra' ist das resolute Symbol der ultimativen Realität, welches sich als Mitgefühl äußert.
Manjushri nahm die büffelköpfige Form des Yama, Gott des Todes, an, um den Tod zu überwinden. Durch das Annehmen multipler Gliedmaßen und Köpfe manifestierte er sich größer als Yama und überwältigte ihn so, woraufhin er dessen Aktivitäten als Todesbringer beendete und zum Auslöscher des Todes wurde (yama-antaka). Im tibetischen Buddhismus gibt es drei Formen des Yamantaka, von denen Vajrabhairava die bekannteste und mächtigste ist.
Die Gottheit Vajrabhairava hat unter den meisten tibetisch-religiösen Schulen besondere Beliebtheit erlangt. Während des Neujahrsfestes wurde er in speziellen Zeremonien gemäß der Saskyapa-Methode heraufbeschworen und gnädig gestimmt. Diese wurden sowohl von Saskyapa- als auch Nyingmapa-Anhängern durchgeführt. Die Festivitäten waren eine Mischung aus prä-buddhistischen Militärzeremonien, schamanistischen Exorzismustänzen sowie buddhistischen Ritualen.
Seine größte Dynamik erreichte Vajrabhairava jedoch innerhalb des Gelugpa-Ordens, welcher vom tibetischen Meister Tsongkhapa (1357-1419) gegründet wurde. Letzterer widmete der Gottheit einen spezifischen Text, in welchem er die Symbolik der verschiedenen Köpfe, Extremitäten und Attribute klar erklärte und ihre komplexe Ikonographie systematisierte. Er deutete dabei ganz speziell auf die besondere Anordnung der sieben Köpfe in einem Kreis mit den beiden weiteren Köpfen als Spitze hin. Die hier gezeigte heilige Figur stellt diesen Aspekt vollumfänglich dar.
Die direkte kaiserliche Verbindung dieser prächtigen Bronze basiert auf der extrem seltenen und ausführlichen Inschrift, welche klarstellt, dass sie während der Chenghua-Periode vom Anxi-Palast gestiftet wurde. Noch seltener ist dabei die genaue Datierung auf einen bestimmten Tag, den zweiten Tag des elften Monats im neunten Jahr der Chenghua-Periode, oder: 2. November 1473.
Bis dato sind nur zwei kaiserliche Objekte bekannt, die durch eine entsprechend detaillierte Aufschrift mit dem Anxi-Palast in Verbindung gebracht werden können. Neben dieser monumentalen Bronzefigur handelt es sich dabei um eine im Shanghai-Museum befindliche Stickerei mit Darstellung des Buddha, welche auf den Geburtstag des Chenghua-Kaisers im Jahr 1471 datiert ist. Eine bekannte Bewohnerin des Anxi-Palastes war Wan Guifei, geb. Wan Zhen'er (1430-1487), welche jedoch erst 1476 aus dem Zhaode-Palast dorthin umzog. Ihr Rang wurde nach ihrem Umzug von 'guifei' (erhabene Konkubine) zu 'huang-guifei' (Kron-Konkubine) erhöht, wodurch sie de facto den gleichen Rang wie die Hauptfrau des Kronprinzen innehatte.
Der Palast Anxi lag direkt neben dem mittleren Palast der Kaiserin, weshalb dessen Bewohnerin zur Zeit des Chenghua-Kaisers zumindest den Rang 'guifei' innehaben sollte. Es sind keine Aufzeichnungen darüber bekannt, ob es neben Wan Guifei eine weitere Konkubine dieses Ranges im Palast gab, jedoch brachte eine Ausgrabung in der Nähe des Bergs Xishan in Beijing 1998 die Grabinschrift des ersten Kronprinzen Zhu Youji (1469-1472) hervor. Dieser Inschrift konnte entnommen werden, dass dessen Mutter, Frau Bai, eine Tochter des Leiters des 'Jinyiwei'-Amtes, Bai Zhen, und eine Konkubine des Ranges 'guifei' war. Sie wurde 1464 zur Nebenfrau des Kaisers Chenghua, erhielt 1466 den Titel 'fei' (Konkubine) und brachte 1469 Zhu Youji zur Welt. Sie wurde zur einzigen Konkubine, die neben Chenghua und dessen Kaiserin im kaiserlichen Grab erhielt, wo sie 1527 beerdigt wurde. Zhu Youji war der zweite Sohn des Kaisers. Den ersten Sohn gebar 1466 Wan Zhen'er, deren Titel daraufhin von 'fei' zu 'guifei' erhöht wurde. Das Kind starb jedoch noch im selben Jahr. Somit war Zhu Youji der einzige Sohn des Kaiser und somit Kronprinz, als er am 16.11.1471 geboren wurde. Auch er starb jedoch noch im Kindesalter am 26.01.1472.
Insofern liegt nahe, dass Zhu Youjis Mutter, Frau Bai, um 1471/72 im Anxi-Palast wohnte, da sie zu der Zeit den Titel 'guifei' trug, bevor auch Wan Zhen'er diesen Titel erhielt und schließlich 1476 dort einzog. Beide Stücke, die Stickerei im Shanghai-Museum und die hier angebotene Bronze könnten somit also Geschenke der hohen Konkubine Bai gewesen sein, um dem Kaiser ein langes Leben zu wünschen, da Vajrabhairava, der "Beender des Todes", auch als Gottheit für die Erlangung langen Lebens gesehen werden kann.
Stilistisch basiert diese bedeutende Figur auf der Newari-Tradition, welche sich in Peking während der Yuan-Dynastie (1279-1368) entwickelte. Der tibetische Abt Phagspa (1235-1280) des Saskyapa-Klosters und persönlicher Lehrmeister von Kublai Khan lud den Newari Künstler Aniko (1244-1306) 1263 nach Peking ein, wo er zum Leiter der kaiserlichen Bronzewerkstatt ernannt wurde. Zunächst folgten die Newari-Kunsthandwerker der Ikonographie des tibetischen Buddhismus und den stilistischen Präferenzen ihrer Zeit. Diese speziellen ikonographischen Elemente wurden während der folgenden Ming-Dynastie (1368-1644) größtenteils beibehalten, jedoch wurde der Stil selbst sinisierter, wie auch an dieser Bronze deutlich wird, was wiederum auf die zunehmende Mitwirkung der lokalen chinesischen Kunsthandwerker zurückzuführen ist, welche mit der Zeit ihre Newari-Pendants ersetzten.
Diese Bronzefigur des Vajrabhairava zeigt eine enorm hohe Komplexität in Bezug auf ihre skulpturalen Formen sowie das außergewöhnliche Geschick der chinesischen Kunstfertigkeit während des 15. Jahrhunderts. Die Figur wurde in mehreren Teilen gegossen und gekonnt zusammengesetzt, um eine stimmige und rhythmische Komposition zu formen.
Maße: Sockel: 14 x 62 x 47 cm; Mandorla: 80 x 60 x 12 cm; Figur: 64 x 51 x 32 cm; Gewicht: Sockel: 43 kg; Mandorla: 32
796 | Asiatische Kunst
Sale Date(s)
Lots: 1-565
Lots: 566-983
Lots: 1000-1729
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Terms & Conditions
Important notice: In order to ensure a proper execution of your bids, please make sure that your registration and bids must be submitted 24h before auction starts.
The auction is held in the name of NAGEL AUKTIONEN GmbH (hereinafter referred to as “Auctioneer”). The auctioneers act as its representative. They are publicly appointed and sworn auctioneers in accordance with § 34 Para. 5 of the Trade Regulation Act. The auction is thus a public auction within the meaning of § 383 Para. 3, p. 1 of the Civil Code.
1. Fundamentals of the auction The Auctioneer holds public auctions within the scope of §383 Paragraph 3 Sub-Clause 1 of the German Civil Code in its own name as consignee and for the account of the depositors (consignors) whose names are not disclosed. By taking part in the auction, the following auction conditions of the Auctioneer are accepted.
2. Defects a) All property items offered for auction can be viewed and inspected prior to the auction. The property items are second-hand. The catalogue descriptions are made to the best of the author’s knowledge and belief, but are for purposes of information exclusively and are not part of the contrac- tually agreed properties and condition of the items within the meaning of § 434 of the Civil Code, in particular they do not constitute guarantees within the meaning of § 443 of the Civil Code. The same applies to verbal or written information of all kinds, as well as the designation of the items when called. If an Internet catalogue is made in addition, the information in the printed version is nonethe- less authoritative. Impairments in the state of the items’ preservation are not stated in every case, so that lack of information likewise does not furnish grounds for an agreement on the quality of the items. The Auctioneer reserves the right to make corrections to catalogue information. These corrections take the form of written notices posted at the place of the auction and verbal corrections made by the Auctioneer immediately prior to the auction of the specific item. The corrected information takes the place of the catalogue descriptions. All items are offered for auction in the state in which they are found at the time of the auction. b) In the event of quality defects and defects of title claimed within 12 months after the knockdown, the Auctioneer shall undertake at his own discretion to assign his claims or to assert his claims directly against the Consignor. The condition for this is that the buyer has completely paid the bill for the auction. The costs of legal action taken against the Consignor are borne by the buyer, insofar as the Auctioneer receives no reimbursement of costs from the Consignor. The valuation of a recognized expert proving the defect and made at the expense of the buyer is necessary for the assertion of a claim for a quality defect. If claims made against the Consignor are successful, the Auctioneer shall refund only the purchase price to the buyer, matching payment with the return of the property. The buyer is still under obligation to pay the premium as compensation for the services of the Auctioneer. In all other respects, the Auctioneer shall assume no liability for quality defects and defects of title, insofar as the Auctioneer has fulfilled his obligations to exercise diligence. This shall not affect any liability of the Auctioneer for bodily harm or injury to health.
3. Bids a) Floor bids Each bidder must indicate his (her/its) name and address before the start of the auction. This holds even if he takes part in the auction as a representative. In this case, he must also indicate the name and address of the party he is representing. In cases of doubt, the bidder shall make acquisitions in his own name and for his own account. Each bidder must make a deposit before the start of the auction b) Absentee bids In order to ensure that written bids are properly executed, they must be made on the form provided for this purpose and received by the Auctioneer at least 48 hours before the start of the first day of the auction. The bidder is required to provide evidence of the receipt. For a written bid to be effective, it must contain detailed informa- tion on the person or company of the bidder as well as the lot number. A telephone number at which the bidder can regularly be reached must be indicated when the bid is made. The bid is restricted exclusively to the lot number indicated. Written bids are only used by the Auctioneer with the amount that is necessary to bid over another bid that has been made. Telephone bids will be accepted by telephoning the bidder before the desired lot is called. This is only done for lots with an estimated price of € 750.00 or more. The condition for taking part by telephone is a written notice received by the Auctioneer no later than 48 hours before the start of the first day of the auction. It is possible to make online bids at some auctions (www.auction.de); this requires a registration at least 48 hours before the start of the first day of the auction. The Auctioneer shall assume no liability for the formation or maintenance of telecommunications connections, nor for the orderly transmission and (timely) receipt of online bids to the Auctioneer. What occurs in the hall (for example, with regard to corrections as stated in Number 2 a of these Conditions) shall be authoritative for the course of the auction. Only those bids made in the hall are binding. In any case, the bidder is required to provide proof of the entry of the bid c) Handling of bids and knockdown The Auctioneer can reject bids if there are valid reasons for doing so. This applies in particular if bidders cannot furnish, at the demand of the Auctioneer, sufficient security prior to the auction commensurate with the value of the bid. If a bid is rejected, the bid made immediately prior to it shall remain binding. d) Given justified reason, the Auctioneer shall reserve the right to combine or separate lot numbers, call them out of sequence, withdraw them if there is a valid reason, or auction them off subject to reservation (UV-Zuschlag). The lot number is the number under which the items are called in the auction, listed in the auction catalogue, or offered for sale by private contract. e) The knockdown shall follow after the highest bid has been called three times. If several persons make the same bid and no higher bid is made after being called three times, the matter will be decided by drawing lots. If identical written bids are received, the knockdown will be granted to the first bid received. If there are doubts regarding whether or to whom the knockdown has been granted, or if a bid submitted on time is overlooked, or if the highest bidder wishes to withdraw his bid, the Auctioneer is entitled to withdraw the knockdown, which is thereby invalidated, and to offer the property for auction once again. Any objections against the knockdown are to be raised immediately, i.e., before the next lot is called. The Auctioneer is entitled to refuse the knockdown if there is a valid reason for doing so. f) The estimated price is normally not a limit; a knockdown may also be made below the estimated price. In order to protect the consigned property, the Auctioneer is entitled to knockdown to the consignor below the agreed limit. A reversal is made in this case. g) If the limit agreed with the consignor is not reached, or for other valid reasons, the Auctioneer is entitled to knock down subject to reservation (UV-Zuschlag). In the event of a subsequent bid equivalent to the limit, the property may be knocked down to another bidder or sold to another bidder in a subsequent sale with no further consultation being required. Bids with awards subject to reservation are binding on the bidder for 5 weeks but may be subject to change without notice by the Auctioneer. In particular, any claims of the bidder against the Auctioneer shall be excluded if the knockdown subject to reserva- tion should be unsuccessful. h) A bid will lapse if it is rejected by the Auctioneer, if the auction is closed without a knockdown, or if the property is called for auction again. An invalid overbid does not result in the previous bid being invalid. i) A knockdown called by the Auctioneer obligates the bidder to accept the item and make payment. Ownership of the auctioned property only passes to the buyer when all claims of the Auctioneer have been settled in full. The risk of fortuitous loss or fortuitous
deterioration of the property passes to the buyer simultaneously with the knockdown. j) The sale of unsold lots is part of the auction, in which interested parties place their orders for submitting bids of a specific amount in writing. The provisions of §§312b et seq. regarding distance contracts do not apply. The Auction Conditions apply analogously to the sale of unsold lots.
4. Purchase price, turnover tax a) As a rule, all deliveries are subject to a differential tax in accordance with § 25a of the German Turnover Tax Act (UStG), with a premium of 29,5% being levied on the hammer price. This premium includes statutory turnover tax on the total difference. Turnover tax is not stated separately on the invoice. Consignments which are subject to turnover tax (marked by * with the lot no.), such as those from non-EU countries, for example, are invoiced at the standard tax rate with a premium of 24,5 % being levied on the hammer price. The turnover tax is payable on the hammer price plus the premium. b) If it should be necessary to obtain CITES certificates for the purpose of granting special exemption from the prohibition of marketing objects covered by this Convention, then the cost thereof shall be borne by the purchaser. In addition, a processing fee of € 100.00 per lot as well as a flat-rate fee of € 100.00 per lot will be charged for making up the export documents. No guarantee is given that a permit will be granted (CITES, protection of species, export). c) The buyer pays half of the statutory right of stoppage according to the scale in § 26 of the German Copyright Act, as well as half of the contribution to the Artists’ Social Insurance Fund. d) Statutory turnover tax amounts at present to 19 %. Items which are marked in the catalogue with a * before the estimated price are subject to the reduced value- added tax rate of 7 % in the event that standard taxation applies. e) Tax exemption is excluded for deliveries within the European Union. In the case of export deliveries to non-EU countries, turnover tax is refunded to the buyer as soon as the export and acceptance documentation has been received by the Auctioneer. f) Invoices issued during or immediately following the auction require verification; errors excepted. A charge will be made for later changes of the invoice at the request of customers.
5. Due date, payment and default a) Buyers taking part in the auction in person must pay the final purchase price (knockdown price plus premium and turnover tax) to the Auctioneer immedi- ately following the knockdown. In the case of buyers who have submitted written or telephonic offers, the amount due is payable upon receipt of the invoice. The buyer waives the enforcement of any retention rights in connection with transactions or previous transactions conducted within the scope of the present business relationship. The buyer is only permitted to offset any counter- claims if these are undisputed or have been declared by declaratory judgment. If the buyer is an entrepreneur, he hereby waives the performance refusal right under § 320 (§ 322) of the German Civil Code. b) In the event of payment delay, private buyers (consumers) must pay default interest equivalent to 5 % of the discount rate of the European Central Bank and commercial buyers (companies), 8 % of the relevant discount rate p.a. If payment is made in foreign currency, any exchange losses and currency conversion fees must be borne by the buyer. The Auctioneer is also entitled to lodge claims against the buyer for culpable neglect of duties. After the second formal reminder, the Auctioneer is entitled to levy a default surcharge equivalent to 3 % of its total claim as compensation for damages incurred unless the buyer is able to prove that no damage or a much lower level of damages has been incurred. The costs of any litigation abroad shall be borne by the buyer, insofar as they are not reimbursable in accordance with the respective national laws. If the buyer should default on payment, the Auctioneer can withdraw from the contract after having granted an additional period of two weeks and instead of the flat-rate damage compensation amount, demand reimbursement of the specific damages incurred. These damages may also be calculated in such a way that the property item in question will be re-auctioned at another auction with a limit determined at the dutiful discretion of the Auctioneer and the defaulting buyer will be liable for any reduced proceeds in comparison with the previous auction and also for the costs of the repeat auction and including the commission and disbursements of the Auctioneer. The default- ing buyer will not be entitled to any additional proceeds in this case. His rights in connection with the previous knockdown will lapse concurrently with the new knockdown. All claims of the Auctioneer against the buyer will be due immediately in the event of delay.
6. Collecting, shipping and storing items a) The buyer is obliged to take receipt of the property items immediately after the auction. Buyers who have participated in the auction in writing or by telecommunication are obliged to collect the property items no later than 14 days after receipt of the invoice. Items purchased in an auction shall only be handed over when all outstanding accounts have been settled. b) If the buyer should be delayed in taking over the property, the Auctioneer is entitled to store the property items at the cost and risk of the buyer on its own premises or with third parties. The buyer will also bear the costs of any necessary insurance. A cost reimbursement of up to € 6.00 (plus value-added tax) per item and day or the relevant rate of the storage com- pany shall be charged for the storage. The buyer reserves the right to prove that costs have not been incurred, or not in the aforesaid amount. The date for withdrawing stored property items is to be agreed with the Auctioneer or designated third parties. c) The packing, insurance and ship- ment of auctioned items shall be made at the cost and risk of the buyer; the Auctioneer merely serves as an agent for these services. Shipping orders will only be executed if the Auctioneer or the company commissioned with this task has received the appropriate shipping order signed by the buyer and after the calculated shipping costs and all other claims of the Auctioneer have been settled.
7. Liability The Auctioneer shall only be liable for other damages to the (successful) bidder if said damages are due to deliberate or grossly negligent breach of duty by a legal representative or vicarious agent of the Auctioneer, or if the damages are due to deliberate or negligent breach of duty causing injury to life, body or health of the (successful) bidder by the Auctioneer.
8. General a) All legal relationships between the bidder or buyer and the Auctioneer are covered in these Conditions. The bidder’s or buyer’s general terms of business shall not be applicable. There are no ancillary verbal agreements. Changes must be made in writing to be effective. b) The place of fulfilment and legal venue, if such can be agreed, is exclusively Stuttgart. German laws shall apply exclusively. The United Nations Convention on Contracts for the International Sale of Goods (CISG) shall not apply. c) If one or more provisions of these Assignment Conditions are wholly or partially invalid, the validity of the other provisions will remain in full force and effect. d) If the Auction Conditions are available in more than one language, the German version is exclusively authoritative. The Auctioneer shall assume no liability for incorrect translations.
Uwe Jourdan
Publicly appointed and sworn auctioneer
