작품 상세

北魏 砂岩雕寶冠菩薩頭像（應出自雲岡石窟） Sensitively carved the serene face with downcast almond-shaped eyes beneath gently arched brows, the full lips curved into a meditative smile, flanked by elongated earlobes and framed by an elegant coiffure swept up into a domed top knot, the upper head crowned with a neatly arranged diadem featuring lotus motifs, with well-modeled chin and jawline.Mounted on a fitted hardwood base. Likely from The Yungang Grottoes. Northern Wei Dynasty period, 386–535 A.D. Height: 16 in (40.6 cm) Width: 7 3/4 in (19.7 cm) Provenance: From the collection of Ms. Dora Wong, New York Born in the 1930s, Ms. Dora Wong is an internationally renowned Chinese-American fashion designer and art collector who has been active in the art scenes of New York and Hong Kong for several decades. A native of Shanghai, she came from a distinguished intellectual family: her maternal grandfather, Yao Wenge, was a late Qing dynasty scholar-official, and her father, Huang Weisan, was both an industrialist and a painter. Educated in both Eastern and Western traditions, she studied at St. Mary’s Hall and Fudan University before moving to Hong Kong in 1958. Recognized by French-American designer KK Lau, she went on to study at the Balenciaga fashion institute in Paris in 1961 and founded her own label, "Pandora," opening her first boutique at the Hilton Hotel in Hong Kong in 1963. Her designs quickly captivated celebrities across Southeast Asia, Europe, and the United States. In the 1970s, Ms. Wong relocated to New York at the height of her fashion career. She designed for iconic figures such as Marilyn Monroe, French actress Capucine, and members of American political and business circles. Alongside her fashion success, she began collecting Chinese art, acquiring her first piece in 1975. This marked the beginning of a deep and refined collecting journey spanning early carvings, classical paintings, and Qing court art, all known for their superb quality and scholarly provenance. Among her most notable acquisitions is a group of rare imperial portraits from the Qing court’s "Hall of Purple Splendor" (Ziguangge), including portraits of Fuheng, E'hui, and Keshike Batulu. These works became the focus of exhibitions at the Smithsonian’s Freer Gallery and the Sackler Museum, with the Fuheng portrait believed to be by Giuseppe Castiglione (Lang Shining), bearing exceptional historical and artistic value. Ms. Wong’s collection also includes classical Chinese paintings by major artists such as Wen Zhengming, Dong Qichang, Zhang Daqian, Qi Baishi, Fu Baoshi, and Lin Fengmian. Many works in her collection previously belonged to renowned collectors and scholars including Arthur M. Sackler, Laurence Sickman, Richard G. Pritzlaff, and C.C. Wang, and have been highly praised in academic circles. Her Japanese Buddhist painting from the Muromachi period is currently held and studied by the Princeton University Art Museum. Numerous works from her collection have been loaned to major institutions such as Princeton University, the Peabody Museum, and the Royal Ontario Museum. Her private studio, Gu Huan Ge ("Pavilion of Ancient Joy"), was named by C.C. Wang himself, symbolizing her love for classical culture and discerning taste. Ms. Wong’s remarkable achievements in both design and collecting stand as a testament to the extraordinary presence of Chinese women on the global cultural stage and her lasting contributions to the study and preservation of Chinese art overseas. During the Northern Wei dynasty, Buddhist sculpture reached an extraordinary height, driven by strong imperial patronage. This bodhisattva head is a fine example of the early Yungang Grottoes style, reflecting a harmonious blend of Gandharan and Gupta artistic influences. The high ushnisha, deep-set eyes, and prominent nose are hallmarks of this aesthetic, while the serene and compassionate expression conveys a balanced sense of strength and tranquility. The surface of the stone bears the marks of age—natural weathering, mineral encrustations, and an aged patina—offering a genuine sense of historical depth. It represents a superb integration of Western stylistic elements with Chinese sculptural traditions. Its style closely parallels the donor figures found in Cave 7 of the Yungang Grottoes. 北魏時期佛教造像藝術在朝廷大力倡導下迅速發展，進入歷史性的鼎盛階段。此尊佛首即體現出云冈石窟早期風格的典型特徵，整體形制融合犍陀羅與笈多藝術精髓。此尊菩薩首肉髻高聳，眼窩深邃，鼻樑高挺，神情慈和寧靜，呈現一種剛健與柔和並存的莊嚴之感。石面經歲月侵蝕，風化自然，表層可見礦物沉積與古舊包漿，極具古樸質感，是西域造像融入东方元素的上乘之作。其風格可參照云冈石窟第七窟之供養天人造像。雲岡石窟位於中國山西省大同市雲岡區武州山南麓，開鑿於北魏興安二年（453年）至太和十九年（495年）間，是中國首座由皇室貴族主持開鑿的大型石窟群。全窟分為東、中、西三部分:東部多為佛塔造型的塔洞；中部以「曇曜五窟」最為宏偉，為雲岡最早開鑿、規模最大的核心洞窟；西部洞窟則多建於北魏遷都洛陽之後，風格稍有轉變。石窟依山而建，東西綿延一公里，共有主要洞窟51個（保存良好者約20個），分佈佛龕1100餘座，佛像總數逾五萬尊，最大者高達17公尺，最小僅2公分，顯示出北魏時期佛教藝術的盛況與精湛技藝，堪稱中國石窟藝術的巔峰之作。 來源：紐約黃蕙英女士（Dora Wong）收藏 黃蕙英女士生於1930年代上海，為國際知名的華裔時裝設計師與資深中國藝術品收藏家，活躍於紐約與香港藝術界數十年。 其出身書香門第，外祖父姚文閣為清末舉人，父親黃畏三為實業家兼書畫家。她早年就學於震旦女中與復旦大學，1958年赴香港發展，旋即獲法籍與美籍設計師 KK Lau 賞識，1961年遠赴巴黎 Balenciaga 時裝學院進修，並於1963年創立個人品牌「Pandora」，在香港希爾頓酒店開設首家精品店，迅速風靡東南亞及歐美名流圈。 1970年代遷居美國紐約後，黃女士時尚事業更臻高峰，曾為瑪麗蓮·夢露、法國影星 Capucine 女士與多位美國政商名流設計服飾。 同時，她亦投身中國藝術收藏，1975年於紐約購得首件中國藝術品，從此展開涵蓋高古石雕、書畫、宮廷藝術、黃花梨家具等多領域的深度收藏，其藏品素以品相優異、來源嚴謹著稱。 尤為引人注目者，為其清宮「紫光閣功臣像」之收藏，包括〈傅恆像〉、〈鄂輝像〉與〈克什克巴圖像〉等稀世鉅作，曾為史密森學會佛利爾藝廊與沙克樂博物館展覽之核心。據學界考證，〈傅恆像〉極可能為郎世寧親繪，具高度歷史與藝術價值。 她亦收藏文徵明、董其昌、張大千、齊白石、傅抱石、林風眠等名家書畫，部分藏品源出 Arthur M. Sackler、Laurence Sickman、Richard G. Pritzlaff 與王己千等著名藏家之舊藏，深受學術界推崇。 其日本室町時期佛畫藏品更為普林斯頓大學美術館借展與出版研究。 黃女士珍藏多次獲美國普林斯頓大學、皮博迪博物館、皇家安大略博物館等學術機構借展。 其私人齋名「古歡閣」由王己千親筆題字，象徵她對古典藝術的摯愛與精緻眼光。 黃蕙英女士於藝術收藏與時尚設計兩界之卓越成就，展現了華人女性在國際文化舞台上的非凡風采，亦為中國藝術在海外的推廣與研究貢獻良多，影響深遠。 Sensitively carved the serene face with downcast almond-shaped eyes beneath gently arched brows, the full lips curved into a meditative smile, flanked by elongated earlobes and framed by an elegant coiffure swept up into a domed top knot, the upper head crowned with a neatly arranged diadem featuring lotus motifs, with well-modeled chin and jawline.Mounted on a fitted hardwood base. Likely from The Yungang Grottoes. Northern Wei Dynasty period, 386–535 A.D. 北魏時期佛教造像藝術在朝廷大力倡導下迅速發展，進入歷史性的鼎盛階段。此尊佛首即體現出云冈石窟早期風格的典型特徵，整體形制融合犍陀羅與笈多藝術精髓。此尊菩薩首肉髻高聳，眼窩深邃，鼻樑高挺，神情慈和寧靜，呈現一種剛健與柔和並存的莊嚴之感。石面經歲月侵蝕，風化自然，表層可見礦物沉積與古舊包漿，極具古樸質感，是西域造像融入东方元素的上乘之作。其風格可參照云冈石窟第七窟之供養天人造像。雲岡石窟位於中國山西省大同市雲岡區武州山南麓，開鑿於北魏興安二年（453年）至太和十九年（495年）間，是中國首座由皇室貴族主持開鑿的大型石窟群。全窟分為東、中、西三部分:東部多為佛塔造型的塔洞；中部以「曇曜五窟」最為宏偉，為雲岡最早開鑿、規模最大的核心洞窟；西部洞窟則多建於北魏遷都洛陽之後，風格稍有轉變。石窟依山而建，東西綿延一公里，共有主要洞窟51個（保存良好者約20個），分佈佛龕1100餘座，佛像總數逾五萬尊，最大者高達17公尺，最小僅2公分，顯示出北魏時期佛教藝術的盛況與精湛技藝，堪稱中國石窟藝術的巔峰之作。