Gordon Getty 收藏，美國
紐約蘇富比2007年9月21日，編號64

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我們很高興為您提供上述拍品狀況報告。由於敝公司非專業修復人員，在此敦促您向其他專業修復人員索取諮詢，以獲得更詳盡、專業之報告。

準買家應該檢查每款拍品以確認其狀況，蘇富比所作的任何陳述均為專業主觀看法而非事實陳述。準買家應參考有關該拍賣的重要通知（見圖錄）。

雖然本狀況報告或有針對某拍品之討論，但所有拍賣品均根據印於圖錄內之業務規則以拍賣時狀況出售。

This rare textile, with the finely rendered expressions and refined kesi, indicate that it was created in an imperial workshop. Such robes were reserved for the highest officials of a monastery, but were rarely worn in Tibetan or Central Asian Buddhist traditions, as it was considered an act of sacrilege for any human to adorn oneself with Buddhas. Thus, they were often displayed as sacred objects in Tibetan monasteries. Also known as kashaya, they are always of rectangular shape and assembled with multiple 'patches' so as to symbolise the vow of poverty taken by Buddhist monks.

The 'thousand Buddhas' is based on the Mahayana Buddhist belief that the cosmic consciousness of the Buddha is accessible to all.ᩚᩚᩚᩚᩚᩚ⁤⁤⁤⁤ᩚ⁤⁤⁤⁤ᩚ⁤⁤⁤⁤ᩚ𒀱ᩚᩚᩚ The actual number of reꦕpresented Buddhas is insignificant. Rather, it is the concept of the deity's infinite availability that is of critical importance. 

This theme ಞas presented on a garment first occurred in the fifth century in a carving of Vairochana, one of the Five Transcendant Buddhas, at Yungang in northern Shanxi province. A Ming period example of a large and seated bronze Buddha wearing the robe was sold in our New York rooms, 22nd March 1995, lot 150.

Compare another kesi Buddhist priest's robe, illustrated in Heaven's Embroidered Cloths: One Thousand Years of Chinese Textiles, Hong Kong Museum of Art, 1995, Hong Kong, pl. 45; as well as two embroidered examples, ibid., pls 43-44. Another twenty-five column piece, in The Cleveland Museum of Art, is illustrated in James C.Y. Watt and Anne E. Wardell, When Silk Was Gold: Central Asian and Chinese Textiles, New York, 1997, pl. 64. Also see the essay by Valrae Reynolds, 'Thousand Buddhas Capes and Their Mysterious Role in Sino-Tibetan Trade and Liturgy,' ibid., pp. 32-37.