Beschreibung:

A fine and very large bronze statue of Kannon seated on a rock
Japan, Meiji Period
H. 162 cm ( m.S.)
Seated on a large bronze pedestal designed to resemble a rock formation, her head turned slightly to the side. She is draped in a long robe that falls in flowing folds, partially covering her feet, with only the tips of her toes visible. Her neck is adorned with an elaborate chain necklace, and in her right hand she holds an Amrita flask containing the elixir of life, which has been repurposed as a water spout. Her facial features radiate grace, with almond-shaped, downcast eyes, a delicate nose, and full lips. Atop her head, she wears a tiara adorned with floral motifs, and her hair is elegantly styled into a chignon. Mounted on lava rock.
Acquired by Bayer AG from Bernheimer by Carl Duisberg prior to 1930 - Partial age damage and surface change due to many years of presentation in the park
The figure of Kannon in Japanese Buddhism traces its origins to the Indian Bodhisattva Avalokiteshvara, a male deity associated with karuṇā (universal compassion) and venerated as the patron protector of Tibet. From the 1st or 2nd century CE, the cult of Avalokiteshvara gradually spread across East Asia, reaching China, Korea, Japan, and other regions influenced by Mahāyāna Buddhism. During this transmission, Avalokiteśvara underwent a significant transformation. In the context of East Asian Mahāyāna Buddhism, the Bodhisattva came to be represented increasingly in female form, particularly as Guānyīn in China and Kannon in Japan. The worship of Kannon in Japan began in the late 6th century, following the introduction of Buddhism from the Korean peninsula via China. Although the figure was originally conceived as male, various cultural and religious influences contributed to a gradual feminisation of the deity’s iconography. The popularity of indigenous female divinities, such as the Daoist Xīwángmǔ ("Queen Mother of the West"), played a key role in this shift. By the 9th and 10th centuries, depictions of Guānyīn as a female figure had become widespread, particularly in northwestern China. Later, in the 16th century, Jesuit missionaries arriving in East Asia brought with them images of the Virgin Mary, further informing local artistic interpretations of Guānyīn and Kannon. According to legend, the paradise accessible through devotion to Kannon is known as Fudaraku-sen, believed to be situated at the southern tip of the Indian subcontinent.

This lot is subject to standard taxation: a premium of 24.5 % will be charged on the hammer price. Statutory VAT is payable on the hammer price plus premium.

Sehr große und feine Statue des Kannon Bosatsu aus Bronze auf einem Felsen
Japan, Meiji - Periode
H. 162 cm ( m.S.)
Auf einem großen Stand aus Bronze sitzend, der eine Felsformation imitiert mit seitlich gewandtem Kopf, bekleidet mit einem langen Gewand, dass in fließenden Falten fällt und ihre Füße partiell bedeckt, so dass man nur ihre Zehenspitzen sieht. Ihren Hals ziert prächtiger Kettschmuck, in ihrer rechten Hand hält sie eine Amrita Flasche mit dem Lebenselixier, die zu einem Wasserspeier umfunktioniert wurde. Ihre Gesichtszüge sind von Anmut geprägt mit mandelförmigen, gesenkten Augen, einer feinen Nase und vollen Lippen. Als Kopfzierde trägt sie eine Tiara mit floralen Elementen, ihr Haar wurde kunstvoll zu einem Chignon frisiert.
Vor 1930 von der Bayer AG durch Carl Duisberg bei Bernheimer erworben - Aufgrund der jahrelangen Präsentation im Park, partiell Altersschäden und Veränderung der Oberfläche

Die Verehrung der Kannon hat ihren Ursprung im indischen Bodhisattva Avalokiteshvara, dem männlichen „Herrn, der alle beachtet“, der für universelles Mitgefühl (karuṇā) steht und auch als Schutzpatron Tibets gilt. Ab dem 1./2. Jahrhundert verbreitete sich seine Verehrung über China und Korea bis nach Japan. Mit der Ausbreitung im ostasiatischen Mahayana-Buddhismus, wandelte sich Avalokiteshvar

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Export to countries outside the EU are subject to the restrictions of the UNESCO convention from 1970 and the European Agreement for the Protection of Cultural Heritage from 1993. Moreover, the cites regulations are applicable. Objects with materials such as ivory or tortoise shell require a permission for export into countries outside the EU contract area due to cites regulations. We point out that such a permission is usually not given. For exports within the EU the Act to Protect German Cultural Property against Removal (Kulturgutschutzgesetz) has been in force since 6th August 2016.


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6. Juni 2025 09:30 CEST
Stuttgart, Germany

Nagel Auction

Sie erklären sich damit einverstanden, ein Aufgeld von 32.5% sowie alle anfallenden Steuern und Versandkosten zu zahlen.

Vollansicht der Versteigerungsbedingungen

Steigerungsstufen
Von: Bis: Erhöhungsschritte:
0 € 19 € 5 €
20 € 179 € 10 €
180 € 299 € 20 €
300 € 359 € 30 €
360 € 399 € 40 €
400 € 899 € 50 €
900 € 999 € 100 €
1.000 € 1.999 € 100 €
2.000 € 2.999 € 200 €
3.000 € 3.599 € 300 €
3.600 € 3.999 € 400 €
4.000 € 9.999 € 500 €
10.000 € 19.999 € 1.000 €
20.000 € 29.999 € 2.000 €
30.000 € 35.999 € 3.000 €
36.000 € 39.999 € 4.000 €
40.000 € 99.999 € 5.000 €
100.000 € 199.999 € 10.000 €
200.000 € + 20.000 €