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Home > Auction >  春季重要中国古董·书画拍卖  >  中國書畫 >  Lot.0681 Chinese Buddhist Painting on Silk, Ming Dynasty

LOT 0681 Chinese Buddhist Painting on Silk, Ming Dynasty

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Oakridge Auction Gallery

春季重要中国古董·书画拍卖 ——— 中國書畫

Oakridge Auction Gallery

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A Chinese watercolor and ink painting on silk of two Buddhist figures dating from the Ming dynasty. The figures are seated on elaborate pedestals with attendants and a guardian lion below and five additional figures above them among the clouds. It has been framed. Dimensions are: 43 3/4 inches tall X 25 1/4 inches wide, 111.1 cm X 64.1 cm, while the frame measures 49 1/2 inches tall X 27 3/8 inches wide, 125.7 cm X 69.5 cm. All measurements are approximate. Condition: There is significant damage, repair, and overpainting throughout. Creasing, tears, staining, and discoloration of the silk are also present. A reminder that all lots are sold as-is. We have sought to record the changes in the condition of this piece after its initial manufacture as diligently as possible; however, as stated in our terms, condition reports are statements of opinion and not representations or warranties. Oakridge Auction Gallery bears no responsibility for any error or omission. Provenance: The lot comes with an old sticker from Yamanaka and Co. This lot comes with a copy of provenance documentation. From Mr. Taylor in Oregon. The items in this collection were acquired in New York City over 40 years ago, with several items featuring labels from Yamanaka New York. 水陸畫起源於三國時期,自金代至元、明、清時期盛行的佛教寺院為超度亡靈,普濟水陸一切鬼神而舉行的一種重要佛事,是「三教合一」大背景下產生與發展的民俗文化現象。水陸畫是水陸法會上供奉的宗教人物畫。水陸畫題材主要取自儒、釋、道三大教,線描空化豐富,人物造型優美,畫面色彩豐富和諧。水陸法會是指開設法會時救度者與被救度者集會於一堂,凡與會者都能得到超度施法與施食同時進行,普度受苦眾生,是一種設齋供奉佛神以追薦超度亡靈眾鬼的大法會,是中國宗教活動中場面隆重、規模盛大、所需時間較長的一種儀式。水陸畫是隨著水陸法會的產生而出現,是寺院或私人舉行水陸法會時懸掛的宗教畫,是舉辦水陸法會不可缺少的聖物之一。元明之時,水陸道場懸掛的水陸畫基本定型,一般寺院修設的大西水陸法會中一堂水陸畫為一百二十幅。朝廷修設的水陸法會用到的水陸畫多達二百余軸。這些作品內容包攬了民間崇信的所有神祇,它的懸掛幅數依法事規模而定,另外在這一時期除了成套的卷軸水陸畫像外,佛寺道觀中出現了專門的水陸殿,繪有構圖結文完整的水陸壁畫。 畫面中間端坐的是持扇觀音菩薩,觀音頭戴寶冠,冠上有阿彌陀佛像,手持長扇,扇面繪以海屋添壽,坐於蓮花座上。右側是地藏菩薩,左手持缽,右手持說法印。畫面右上方是五方佛,下方左側是善財童子童女,手持珍寶供奉於座下,右邊是金犼。菩薩衣飾線條流暢,身上首飾都以金粉描繪,精美絕倫。將地藏與觀音二菩薩表現在同一畫面,或處於相對應位置的做法,在唐五代北宋時期的石窟塑像與敦煌壁畫、紙絹繪畫中非常流行,數量極大,幾乎可以列為這一時期中被塑畫最多的圖像類型,法國吉美博物館就有類似館藏作品。雖然地藏菩薩與觀音菩薩形成組合沒有明確的經典依據,但是在二菩薩的圖像中,觀音菩薩往往象征現世拯救,地藏菩薩則象征地獄拯救,二菩薩圖像結合起來,類似於分工合作,滿足眾生不墮地獄、現世救苦的雙重願望。 此畫作於明代,可參閱法海寺壁畫,水月觀音像及四菩薩像,其紋飾及面相,畫風裝飾幾乎一致。法海寺 ( Dharma-samudra Vihāra)位於北京石景山區模式口翠微山南麓,始建於明朝正統四年1439(1440年),動用木匠、石匠、瓦匠、漆匠、畫士等多人,歷時近5年,至正統八年才建成。法海寺占地面積20000平方米。1988年公布為全國重點文物保護單位。另大英博物館有幅明代清涼寺壁畫,觀音菩薩也是頭戴寶冠,冠上上有阿彌陀佛像,兩者畫工極其相似,為同一時期產物。 Notes: High resolution photos can be found here.

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