63
A GREY SCHIST FIGURE OF A STANDING BUDDHA
1/7
Auctioneer has chosen not to publish the price of this lot
London
Description
A GREY SCHIST FIGURE OF A STANDING BUDDHA
NORTHWESTERN INDIA, GANDHARA, 2nd/ 3rd CENTURY
finely carved with cascading folds of fabric, face partially missing from the bottom of the left chin to the upper left cheek, pair of heavy lidded eyes, centred by a raised urna, the hair in wavy lock over the prominent ushnisha, mounted
55.9cm (22in) high
Private French Collection, acquired from the Le Breton Gallery in the late 1960s.Accompanied by a French cultural property passport no. 188247.
Note:This finely carved stone statue depicts the Buddha, clad in cascading folds of fabric, clinging lightly to the contours of his body; particular attention has been given to the hair and face, and his heavy-lidded eyes emanate a sense of serenity and benevolence. This piece and the following lot represent beautiful examples of the Graeco-Buddhist style; such statues were commonly seen in the religious precints of Gandhara, the birthplace of some of the most iconic and important works of Buddhist art. Ancient Gandhara, nestled in the snowy speaks and lush valleys of the Hindu Kush, was a meeting place between East and West. The region’s strategic position encouraged successive waves of foreign invaders, whose cultures were aptly adopted and re-contextualised by the local population. This dynamic multiculturalism brought forth sculpture of incredible sophistication, melding the complex nontheistic world of Buddhism with the idealism of the Hellenistic art of the Greek settlers, who had been first lead into the region by Alexander the Great. This Indo-Greek population remained in contact with the Mediterranean world throughout antiquity, and through them the precepts of Buddhism became known to philosophers like Phyrro and Onesicritus, and even to early Chuch Fathers like Clement of Alexandria. This syncretic relationship also produced the first anthropomorphic depictions of the Buddha – who had previously been represented only in symbols, like the Bodhi tree or the empty chair – and so represents an important turning point in the history of Asian art, the impact of which would spread as far as Thailand and Japan. As the Dalai has put it:‘One of the distinguishing features of the Gandharan school of art that emerged in north-west India is that it has been clearly influenced by the naturalism of the Classical Greek style. Thus, while these images still convey the inner peace that results from putting the Buddha’s doctrine into practice, they also give us an impression of people who walked and talked and slept, much as we do…These figures are inspiring because they do not onely depict the goal, but also the sense that people like us can achieve it if we try.’ For a very similar figure and pose, originally found in Gandhara and attributed to Kushan period 200-450 AD, on display in the Victoria and Albert Museum, see inv. no. IS. 70-1949.
NORTHWESTERN INDIA, GANDHARA, 2nd/ 3rd CENTURY
finely carved with cascading folds of fabric, face partially missing from the bottom of the left chin to the upper left cheek, pair of heavy lidded eyes, centred by a raised urna, the hair in wavy lock over the prominent ushnisha, mounted
55.9cm (22in) high
Private French Collection, acquired from the Le Breton Gallery in the late 1960s.Accompanied by a French cultural property passport no. 188247.
Note:This finely carved stone statue depicts the Buddha, clad in cascading folds of fabric, clinging lightly to the contours of his body; particular attention has been given to the hair and face, and his heavy-lidded eyes emanate a sense of serenity and benevolence. This piece and the following lot represent beautiful examples of the Graeco-Buddhist style; such statues were commonly seen in the religious precints of Gandhara, the birthplace of some of the most iconic and important works of Buddhist art. Ancient Gandhara, nestled in the snowy speaks and lush valleys of the Hindu Kush, was a meeting place between East and West. The region’s strategic position encouraged successive waves of foreign invaders, whose cultures were aptly adopted and re-contextualised by the local population. This dynamic multiculturalism brought forth sculpture of incredible sophistication, melding the complex nontheistic world of Buddhism with the idealism of the Hellenistic art of the Greek settlers, who had been first lead into the region by Alexander the Great. This Indo-Greek population remained in contact with the Mediterranean world throughout antiquity, and through them the precepts of Buddhism became known to philosophers like Phyrro and Onesicritus, and even to early Chuch Fathers like Clement of Alexandria. This syncretic relationship also produced the first anthropomorphic depictions of the Buddha – who had previously been represented only in symbols, like the Bodhi tree or the empty chair – and so represents an important turning point in the history of Asian art, the impact of which would spread as far as Thailand and Japan. As the Dalai has put it:‘One of the distinguishing features of the Gandharan school of art that emerged in north-west India is that it has been clearly influenced by the naturalism of the Classical Greek style. Thus, while these images still convey the inner peace that results from putting the Buddha’s doctrine into practice, they also give us an impression of people who walked and talked and slept, much as we do…These figures are inspiring because they do not onely depict the goal, but also the sense that people like us can achieve it if we try.’ For a very similar figure and pose, originally found in Gandhara and attributed to Kushan period 200-450 AD, on display in the Victoria and Albert Museum, see inv. no. IS. 70-1949.
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A GREY SCHIST FIGURE OF A STANDING BUDDHA
NORTHWESTERN INDIA, GANDHARA, 2nd/ 3rd CENTURY
finely carved with cascading folds of fabric, face partially missing from the bottom of the left chin to the upper left cheek, pair of heavy lidded eyes, centred by a raised urna, the hair in wavy lock over the prominent ushnisha, mounted
55.9cm (22in) high
Private French Collection, acquired from the Le Breton Gallery in the late 1960s.Accompanied by a French cultural property passport no. 188247.
Note:This finely carved stone statue depicts the Buddha, clad in cascading folds of fabric, clinging lightly to the contours of his body; particular attention has been given to the hair and face, and his heavy-lidded eyes emanate a sense of serenity and benevolence. This piece and the following lot represent beautiful examples of the Graeco-Buddhist style; such statues were commonly seen in the religious precints of Gandhara, the birthplace of some of the most iconic and important works of Buddhist art. Ancient Gandhara, nestled in the snowy speaks and lush valleys of the Hindu Kush, was a meeting place between East and West. The region’s strategic position encouraged successive waves of foreign invaders, whose cultures were aptly adopted and re-contextualised by the local population. This dynamic multiculturalism brought forth sculpture of incredible sophistication, melding the complex nontheistic world of Buddhism with the idealism of the Hellenistic art of the Greek settlers, who had been first lead into the region by Alexander the Great. This Indo-Greek population remained in contact with the Mediterranean world throughout antiquity, and through them the precepts of Buddhism became known to philosophers like Phyrro and Onesicritus, and even to early Chuch Fathers like Clement of Alexandria. This syncretic relationship also produced the first anthropomorphic depictions of the Buddha – who had previously been represented only in symbols, like the Bodhi tree or the empty chair – and so represents an important turning point in the history of Asian art, the impact of which would spread as far as Thailand and Japan. As the Dalai has put it:‘One of the distinguishing features of the Gandharan school of art that emerged in north-west India is that it has been clearly influenced by the naturalism of the Classical Greek style. Thus, while these images still convey the inner peace that results from putting the Buddha’s doctrine into practice, they also give us an impression of people who walked and talked and slept, much as we do…These figures are inspiring because they do not onely depict the goal, but also the sense that people like us can achieve it if we try.’ For a very similar figure and pose, originally found in Gandhara and attributed to Kushan period 200-450 AD, on display in the Victoria and Albert Museum, see inv. no. IS. 70-1949.
NORTHWESTERN INDIA, GANDHARA, 2nd/ 3rd CENTURY
finely carved with cascading folds of fabric, face partially missing from the bottom of the left chin to the upper left cheek, pair of heavy lidded eyes, centred by a raised urna, the hair in wavy lock over the prominent ushnisha, mounted
55.9cm (22in) high
Private French Collection, acquired from the Le Breton Gallery in the late 1960s.Accompanied by a French cultural property passport no. 188247.
Note:This finely carved stone statue depicts the Buddha, clad in cascading folds of fabric, clinging lightly to the contours of his body; particular attention has been given to the hair and face, and his heavy-lidded eyes emanate a sense of serenity and benevolence. This piece and the following lot represent beautiful examples of the Graeco-Buddhist style; such statues were commonly seen in the religious precints of Gandhara, the birthplace of some of the most iconic and important works of Buddhist art. Ancient Gandhara, nestled in the snowy speaks and lush valleys of the Hindu Kush, was a meeting place between East and West. The region’s strategic position encouraged successive waves of foreign invaders, whose cultures were aptly adopted and re-contextualised by the local population. This dynamic multiculturalism brought forth sculpture of incredible sophistication, melding the complex nontheistic world of Buddhism with the idealism of the Hellenistic art of the Greek settlers, who had been first lead into the region by Alexander the Great. This Indo-Greek population remained in contact with the Mediterranean world throughout antiquity, and through them the precepts of Buddhism became known to philosophers like Phyrro and Onesicritus, and even to early Chuch Fathers like Clement of Alexandria. This syncretic relationship also produced the first anthropomorphic depictions of the Buddha – who had previously been represented only in symbols, like the Bodhi tree or the empty chair – and so represents an important turning point in the history of Asian art, the impact of which would spread as far as Thailand and Japan. As the Dalai has put it:‘One of the distinguishing features of the Gandharan school of art that emerged in north-west India is that it has been clearly influenced by the naturalism of the Classical Greek style. Thus, while these images still convey the inner peace that results from putting the Buddha’s doctrine into practice, they also give us an impression of people who walked and talked and slept, much as we do…These figures are inspiring because they do not onely depict the goal, but also the sense that people like us can achieve it if we try.’ For a very similar figure and pose, originally found in Gandhara and attributed to Kushan period 200-450 AD, on display in the Victoria and Albert Museum, see inv. no. IS. 70-1949.
Islamic & Indian Art
Sale Date(s)
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COLLECTIONS & STORAGE OF PURCHASED LOTS
FOR INTERNATIONAL BUYERS & UK (OUTSIDE SCOTLAND) BUYERS
STORAGE: Items will be stored at 22 Connaught Street, until Wednesday 26th June at 5pm.
Thereafter we will store items at Stephen Morris Shipping Ltd., 15 Ockham Drive, Greenford Park, Greenford, UB6 0FD. Telephone +44(0)20 8832 2222. Items will be available to collect from 9am on Monday 1st July
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FOR SCOTTISH BUYERS
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Thereafter items will be transported to our Edinburgh saleroom and will be available to collect by appointment.
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The buyer shall pay the hammer price together with a premium, at the following rate, thereon.
26% up to £20,000
25% from £20,001 to £500,000
20% thereafter
VAT will be charged on the premium at the rate imposed by law (see our Conditions of Sale at the back of this catalogue).
ADDITIONAL VAT
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Lots affixed with ‡ or [Ω] symbols may be subject to further regulations upon export /import, please see Conditions of Sale for Buyers Section D.2.
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ARTIST’S RESALE ROYALTY (DROIT DE SUITE)
This symbol § indicates works which may be subject to the Droit de Suite or Artist’s Resale Right, which took effect in the United Kingdom on 14th February 2006. We are required to collect a royalty payment for all qualifying works of art. Under new legislation which came into effect on 1st January 2012 this applies to living artists and artists who have died in the last 70 years. This royalty will be charged to the Buyer on the Hammer Price and in addition to the Buyer’s Premium. It will not apply to works where the Hammer Price is less than €1,000 (euros). The charge for works of art sold at and above €1,000 (euros) and below €50,000 (euros) is 4%. For items selling above €50,000 (euros), charges are calculated on a sliding scale. All royalty charges are paid to the Design and Artists Copyright Society (‘DACS’) and no handling costs or additional fees are retained by the Auctioneer. Resale royalties are not subject to VAT. Please note that the royalty payment is calculated on the rate of exchange at the European Central Bank on the date of the sale. More information on Droit de Suite is available at www.dacs.org.uk.
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UK - Conditions Of Sale For Buyers
These Conditions of Sale and the Saleroom Notices as well as specific Catalogue terms, set out the terms on which we offer the Lots listed in this Catalogue for sale. By registering to bid and/or by bidding at auction You agree to these terms, we recommend that You read them carefully before doing so. You will find a list of definitions and a glossary at the end providing explanations for the meanings of the words and expressions used.
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Lyon & Turnbull Ltd. acts as agent for the Seller. On occasion where Lyon & Turnbull Ltd. own a lot in part or full the property will be identified in the catalogue with the symbol (
