This lot is published and Illustrated in Jan Chapman, The Art of Rhinoceros Horn Carving in China, London, 1999, p.275, pl.397 (in original condition) Rhinoceros horn in a deep brown to maroon colored hue of opaque quality. Remnants of red pigment Sino-Tibetan - Himalayan region, 17h century This important Buddhist sculpture, carved from rhinoceros horn, is one of only two known examples still existent. It originates from the Himalayan region and was most certainly a Chinese commission, as the rareness and value of the material suggests so. The present lot depicts the female goddess Green Tara, worshipped by followers in Nepal and Tibet and displays the same form and decoration as gilt-bronze figures of the Goddess from the region. Carved in Pala style, with a five-leaf tiara crown and beaded jewelry, Tara is seated in Lalitasana on a double lotus base with her left foot resting on a lotus bloom issuing from the base. Heavenly bands and lotus flowers are framing the figure and showcase fine openwork carving. In both her hands we see the stems of the lotus flowers and they are held in Vitarka Mudra. Although three-dimensional figure carvings in rhinoceros horn from the Himalayan regions are rare due to the scarce availability of the material there, there is documentation of such carvings being made by the 10th Karmapa, Chöying Dorje (1604-1674), who was a famous teacher of the Karma Kagyu tradition of Tibetan Buddhism and well known as an artist in the mediums of painting, metal casting and carving. Shape: Figural shape Dimensions: 9,2 cm (height), 6,8 cm (maximum width) Condition: Good condition with missing right hand, left lotus and bands professionally restored. The work is fully documented and completely reversible. Nothing of the original statue, as published in the Chapman book, has been tampered with. Provenance: Gerald Levy Collection, Paris Literature comparison: For two other full figural, 17th century rhinoceros horn carvings of Buddhist deities see Sotheby’s, WATER, PINE AND STONE RETREAT COLLECTION - SCHOLARLY ART, 08 OCTOBER 2010, HONG KONG, lot 2199 and Sotheby’s, FINE CHINESE CERAMICS AND WORKS OF ART, 10 APRIL 2006, HONG KONG, lot 1634. 極爲罕見的十七世紀犀牛角雕綠度母 此拍品曾被收錄並出版于 Jan Chapman,《中國犀牛角雕刻藝術》 The Art of Rhinoceros Horn Carving in China，倫敦， 1999,.275頁, 圖397 (品相未變) 犀牛角深褐色至半透明棕色，有紅色顔料殘餘 漢藏-喜馬拉雅地區，十七世紀 這件由犀牛角雕刻而成重要佛教雕塑是現存的兩個已知例子之一。它發源與喜馬拉雅地區，肯定曾來自中國的貢品，犀牛角本身的稀缺性和價值正好暗示了這個原因。此拍品所刻畫的女神綠度母，在尼泊爾和西藏，也以銅鎏金形式，受其追隨者崇拜。 帕拉風格雕刻，佩戴五葉宝塔式头冠和珠寶首飾，綠度母坐在蓮花寶座上，右脚盘起，左脚踏出，下有仰莲，如度莲座。飄帶與蓮花包圍周身，展示著精美的鏤空雕刻。右手持蓮莖结说法印，左手下垂结于愿印。 立體犀角雕刻在喜馬拉雅地區是極其罕見的，因爲材料的稀缺。文獻記載第十世大寶法王，卓瑪多傑（1604-1674年）曾有過類似作品，卓瑪多傑是著名的藏傳佛教噶玛噶举派大師，也是著名的繪畫、精神媒介以及雕刻藝術家。 隨形而雕 尺寸：高9,2 cm，最寬処 6,8 cm 品相良好，局部缺失，右手、左側蓮花和飄帶曾被專業修復過。此角雕曾被完整收錄過，完全可以查詢。在Chapman書中所描述的任何細節都沒有被篡改過。 法國巴黎Gerald Levy私人收藏 文獻參考：另外兩件十七世紀犀角雕佛教菩薩完整雕像可見蘇富比《水松石山房藏珍玩專場—儒雅清蘊》2010年10月8日，香港，2199號拍品以及蘇富比《中國精美陶瓷和工藝品》，2006年4月10日，香港，1634號拍品。