A large carved bamboo figure of Vijraputra and Buddhist lion cub Mid Qing dynasty
Lot 34
A large carved bamboo figure of Vijraputra and Buddhist lion cub Mid Qing dynasty
Sold for HK$ 1,220,000 (US$ 157,261) inc. premium

Lot Details
A large carved bamboo figure of Vijraputra and Buddhist lion cub Mid Qing dynasty A large carved bamboo figure of Vijraputra and Buddhist lion cub Mid Qing dynasty A large carved bamboo figure of Vijraputra and Buddhist lion cub Mid Qing dynasty A large carved bamboo figure of Vijraputra and Buddhist lion cub Mid Qing dynasty A large carved bamboo figure of Vijraputra and Buddhist lion cub Mid Qing dynasty A large carved bamboo figure of Vijraputra and Buddhist lion cub Mid Qing dynasty
A large carved bamboo figure of Vijraputra and Buddhist lion cub
Mid Qing dynasty
Exquisitely carved from a large section of bamboo root as the Vijraputra luohan seated with his right leg crossed and left leg pendant, the right hand depicted concealed beneath draped robes, the left hand depicted holding a ball of yarn, the body adorned in loose flowing robes draping downwards in undulating folds, revealing his left shoulder with exposed right arm, his face superbly carved with a deep contemplated expression, his pendulous earlobes suspending earrings, a small Buddhist lion depicted clambering on his lap with its head turned right and mouth opened, the protruding spine with curly hair with furry mane coiling to a bifurcated tail.
21.5cm high.

Footnotes

  • 清中期 竹根雕笑獅羅漢大坐像

    取竹子地下莖,圓雕屈膝蹲坐笑獅羅漢像,羅漢身寬體魁,額頭高凸,耳墜吊環,雙目半閉,雙唇微張,姿容祥和寧靜亦莊嚴凜然,長袍濶袖,坦露半胸,左手搭膝,手握繡球,右手拄地,手掌藏於長袍下,胸前爬一小獅,雙目圓瞪,昂首張口,玲瓏俏皮。

    笑獅羅漢即伐闍羅弗多羅尊者,梵語「Vajraputra」的音譯,根據唐代玄奘法師所翻譯的《法住記》排序,為十六羅漢中第八位尊者,與自眷屬千一百阿羅漢多分住在缽刺拏洲。相傳成道前為殺虎獵人,戒殺後有兩隻小獅走到身邊以示感激,成道後便將這兩隻小獅帶在身邊,所以世人稱之「笑獅羅漢」。傳說他往生以來便從不殺生,廣積善緣,修得五種不死福力。他雖然一生都無病痛,但他一直勤修經書,終日靜坐。據說笑獅羅漢博學多識,且暢說妙法,但他很難得說法,一次他的師兄阿難尊者詢問他為何不開方便之門暢說妙法,他回答:「話說多了,不一定受人歡迎,儘管你字字千金,卻往往令人反感。我在寂靜中可得法樂,希望大家也能如此。」因此他雖能言善辯,卻心清如水、毫無所求。

    竹在中國傳統文化中佔有重要地位,竹即有隱逸的含義,又是虛懷清廉、堅貞不移的象徵,常被視作「君子」並與文人逸士形成精密相聯。明代中後期,因經濟繁盛,文化藝術得到空前發展,在文人逸士的影響下,藝術品開始有清濁之別,素雅之分。文人竹刻得到迅速發展,職業竹刻家投入到對文人藝術的學習當中,竹雕工匠在社會中的身份地位也被逐漸抬高,而直至清代中期以後,嘉定竹刻則少有創新。
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