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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Sep 24, 2020 | Christie's | New York | Devotion in Stone: Gandharan Masterpieces from a Private Japanese Collection | 609 | $****** - ****** | A RARE AND MAGNIFICENT GRAY SCHIST RELIEF TRIAD OF BUDDHA SHAKYAMUNI WITH BODHISATTVAS |
other
61.6 x 59 cm (24.25 x 23.25 in)
Collection of Claude de Marteau, Brussels, by 1973.
Important private collection, Japan, by 1990.
Los Angeles County Museum of Art, The Art Institute of Chicago, The Brooklyn Museum, “Light of Asia: Buddha Sakyamuni in Asian Art,” 4 March 1984-10 February 1985, cat. no. 74.
Cleveland Museum of Art, Asia Society, New York, Seattle Art Museum, “Kushan Sculpture: Images from Early India,” 13 November 1985-13 July 1986, cat. no. 109.
Shizuoka Kenritsu Bijutsukan, Fukuoka Ajia Bijutsukan, Fukui-shi Bijutsukan, “Gandhara Art & Bamiyan Site,” 28 December 2007-6 July 2008, cat. no. 26.
Advertisement, Oriental Art, vol. XIX, no. 1, Surrey, Spring 1973, p. 24.
J. Harle, “A Hitherto Unknown Dated Sculpture from Gandhara: A Preliminary Report,” South Asian Archaeology, Leiden, 1974, pp. 128-135.
G. Fussman, “Documents épigraphiques kouchans”, Bulletin de l’École Française d’Extrême Orient, vol. 61, Paris, 1974, pp. 54-8.
A. Quagliotti, “Ossevazioni sul Buddha di Bruxelles,” Rivista degli studi orientali, vol. 51, fasc. 1/4, Rome, June 1978, pp. 137-140, tav. 1.
P. Pal, ed., Light of Asia: Buddha Sakyamuni in Asian Art, Los Angeles, 1984, p. 191, cat. no. 74.
S. Czuma, Kushan Sculpture: Images from Early India, Cleveland, 1985, p. 199, cat. no. 109.
K. Khandalavala, “The Five Dated Gandhara School Sculptures and Their Stylistic Implications,” Indian Epigraphy: Its Bearing on the History of Art, New Delhi, 1985, plate 112.
J. van Lohuizen-de Leeuw, “The second century of the Kani?ka era,” South Asian Studies, vol. 2, London, 1986, p. 6, fig. 7.
G. Fussman, “Numismatic and Epigraphic Evidence for the Chronology of Early Gandharan Art,” Investigating Indian Art: Proceedings of a Symposium on the Development of Early Buddhist and Hindu Iconography Held at the Museum of Indian Art Berlin in May 1986, Berlin, 1987, p. 72, fig. 3.
G. Mitterwallner, “The Brussels Buddha from Gandhara of the Year 5,” Investigating Indian Art: Proceedings of a Symposium on the Development of Early Buddhist and Hindu Iconography Held at the Museum of Indian Art Berlin in May 1986, Berlin, 1987, p. 215, fig 1.
I. Kurita, Gandharan Art, vol. I, Tokyo, 1988, p. 143, P3-VIII (illus. cover), second edition 2003 (illus. back cover).
K. Tanabe, “Iconographical and Typological Investigations of the Gandharan Fake Bodhisattva Image Exhibited by the Cleveland Museum of Art and Nara National Museum,” Orient, XXIV, Tokyo, 1988, p. 88, fig. 2.
G. Verardi, “Le sculture del Gandhara nel Civico Museo Archeologico di Milano,” Rassegna di studi del Civico Museo Archeologico e del Civico Gabinetto Numismatico di Milano, Milan, 1991, supplement VII, p. 46, fig. 16 (line drawing).
M. Akira, ed., Iconography of Nirvana and Maitreya - from India to Central Asia, Tokyo, 1992, no. 138.
M. Akira, ed., Gandharan - Wonders of Buddha, Tokyo, 1995, no. IV-12.
M. Bussagli, (trans. B. Arnal), L’Art du Gandhara, Paris, 1996, pp. 188 (part), 189.
S. Wriggins, Xuanzang: A Buddhist Pilgrim on the Silk Road, Boulder, 1996, p. 66, fig. 4.6.
I. Kim, The Future Buddha Maitreya: An Iconological Study, New Delhi, 1997, fig. 83.
F. Tissot, “Remarks and Several Gandhara Pieces,” East and West, vol. 55, no. 4, Rome, 2005, p. 396, fig. 1.
P. Pal, “Reflections on the Gandhara Bodhisattva Images,” Bulletin of the Asia Institute, vol. 20, Detroit, 2006, p. 103, fig. 2.
M. Akira, Gandharan Art and Bamiyan Site, Tokyo, 2006, p. 61, no. 26.
C. Schmidt, Symbols of Royalty and Divinity: Stylistic and Iconographic Characteristics of Turbans Worn by Images of Bodhisattvas from Ancient Greater Gandhara, Lahore, 2007, figs. 29a, 29b (part).
I. Kurita, Introduction to Gandharan Art, Tokyo, 2008, fig. 50.
J. Rhi, “Identifying Several Visual Types in Gandharan Buddha Images,” Archives of Asian Art, vol. 58, New York, 2008, p. 56, fig. 24.
M. Akira, “Iconography of the Two Flanking Bodhisattvas in the Buddhist Triads from Gandhara,” East and West, vol. 58, no. 1, Rome, 2008, p. 146, fig. 21.
C. Luczanits, “Gandhara und seine Kunst,” Gandhara: Das buddhistische Erbe Pakistans / Legenden, Klöster und Paradiese, Bonn, 2008, p. 24, abb. 7.
M. Rhie, Early Buddhist Art of China and Central Asia, v. 3, Leiden/Boston, 2010, fig. 6.18.
C. Luczanits, “Gandhara and its Art,” The Buddhist Heritage of Pakistan: Art of Gandhara, New York, 2011, p. 20, fig. 9.
M. Akira, (trans. M. McClintock), “The Current State of Research on Gandharan Art,” Kokka, no. 1385, Tokyo, 2011, pl. 3.
G. Fussman, A. Quagliotti, The Early Iconography of Avalokitesvara, Paris, 2012, pl. IX, 15.
J. Hartmann, “Die Modernisier der indischen Gesellschaft,” Schrift und Sprache: Was Forscher über unsere ältesten Kulturgüter wissen. Spektrum der Wissenschaft Spezial: Archäologie · Geschichte · Kultur, no. 3, Berlin, 2014, p. 35.
J. Rhi, “Positioning Gandharan Buddhas in chronology: significant coordinates and anomalies,” Problems of Chronology in Gandharan Art, Oxford, 2018, p. 43, figs. 12-13.
