TWO GILT COPPER ALLOY ARHATS


QING DYNASTY, 17TH/18TH CENTURYHimalayan Art Resources item no.61782 18.4 cm (7 1/4 in.) high, the larger
|These two arhat sculptures of Vajriputra and Pindola Bharadvaja are superbly modeled with precise, mannered expressions. This alone departs from most arhat bronzes of the Qing Dynasty, typified by generic and simplified features. The master artist behind these two figures was almost certainly appointed by imperial workshops. The naturalistic robes with exquisite patterns, and the finely engraved cushions are further testament to these two sculptures being part of a special commission. They belong to a known set of arhat sculptures that, of this scale, probably constitutes the Qing Dynasty's finest group. From this set, eleven - including the present two - were in the collection of Paul Wegener, Berlin by 1948 (fig.1). Paul Wegener was a brilliant German stage and screen actor, also renown for a fine collection of Chinese sculpture. This set of arhats likely followed a traditional number of twenty-three, comprised of eighteen arhats, four guardian kings, and Shakyamuni Buddha. Four arhats from this set were gifted by Natacha Rambova to the Philadelphia Museum of Art (acc. nos.1963-155-7; 1963-155-8; 1963-155-9; 1963-155-10, fig.2). Another, likely from the set belonged to an Alfred Lutz, reputedly acquired before 1930s, and was sold at Lempertz, Cologne, 4 December 2015, lot 94. Two from the set were in the collection of Alfred Gwynne Vanderbilt, sold by Sotheby's, New York, 24 March 2011, lots 74&75. These two masterpieces of Vajriputra and Pindola Bharadvaja have a fine pedigree, so distinguished in quality.   Provenance Collection of Paul Wegener (1874–1948), Berlin Ernst Karl Becker, Berlin, 29&30 November 1950, plate 26, lot 793 Collection of Natacha Rambova (1897-1966) The Estate of Professor Donald P. Hansen, New York Sotheby's, New York, 21 September 2007, lots 48&49 銅鎏金羅漢像兩尊 清朝，十七/十八世紀 喜馬拉雅藝術資源網61782號高18.4釐米（7 1/4 英吋），較高的一尊   3,000,000-4,000,000港元   此對羅漢為伐闍羅弗多羅和賓度羅跋囉惰闍，造型華美，表情細緻端正，不同於清代大多數制式化的羅漢銅像。幾乎可確定是出自御用匠師之手。其長袍寫實，圖案優美，寶座雕工細緻，都進一步證明了這兩尊造像是由重要的供養人委託製作。其出自一組為人熟知的羅漢造像，此組造像可謂清朝同體量羅漢像中的極品。 此組羅漢的其中十一尊，包括此兩尊，為柏林的保羅‧威格納舊藏，直至1948年（圖1）。威格納是德國優秀的舞台及電影演員，並且是著名的中國藝術收藏家。這組羅漢可能遵循傳統二十三尊的數目，包含十八尊羅漢、四尊明王，以及佛陀釋迦牟尼；其中四尊由電影服裝設計師娜塔莎·蘭波娃贈予費城藝術博物館 (館藏編號1963-155-7; 1963-155-8; 1963-155-9; 1963-155-10，圖2)。另一尊有可能是阿爾弗雷德‧盧茨的藏品，據稱請於上世紀三十年代，並在德國科隆倫佩茨拍賣行售出，2015年12月4日，拍品94號。同組兩尊羅漢由美國實業家阿爾弗雷德‧格溫‧範德比爾特收藏，於蘇富比售出，紐約，2011年3月24日，拍品74和75號。這兩尊伐闍羅弗多羅和賓度羅跋囉惰闍來源非凡，質量出眾，是難得的傑作。   來源 保羅‧威格納（1874–1948）收藏，柏林Ernst Karl Becker，柏林，1950年11月29及30日，圖版26號，拍品793號 娜塔莎·蘭波娃（1897–1966）收藏 Donald P. Hansen教授家族收藏，紐約蘇富比，紐約，2007年9月21日，拍品48與49號