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--- 弥勒佛:66001 [2026/05/27 22:54]
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+++ 弥勒佛:66001 [2026/06/02 09:22] (当前版本)
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+=====5世纪北魏云冈石窟石雕交脚弥勒菩萨(纽约大都会博物馆)=====
+{{tag> 主题:弥勒佛 材质:石雕 尺寸:100-200cm 年代:北魏 年代:5世纪 风格:中原 来源:纽约大都会博物馆 弥勒佛:交脚弥勒 产地:云冈石窟}}
+~~PAGEIMAGE:<:其它菩萨:018-1.jpg>~~
+**尺寸：像高 146.1 cm\\
+年代：北魏(5世纪) 470-480年\\
+质地：石雕 砂岩雕塑上色\\
+风格：中原\\
+备注：来自山西云冈石窟第25窟 \\
+来源：纽约大都会博物馆\\
+参阅：[[https://www.metmuseum.org/art/collection/search/42711|外部链接]]\\
+鉴赏：**\\
+{{ :其它菩萨:018-1.jpg?direct&600 |}}
+{{ :其它菩萨:018-2.jpg?direct&600 |}}
+美国大都会艺术博物馆收藏的这尊交脚菩萨石雕像，制作年代为公元470-480年之间，距今已有1500多年的历史。交脚观音菩萨头戴宝冠，冠中有小化佛。面呈微笑，弯眉细目，直鼻小口，目微闭而含情，俯视着芸芸众生，似乎随时准备闻世间疾苦之声而前往救助。菩萨肩披披帛，下着贴体长裙，衣饰线纹流畅，手法简洁。右手似施无畏印（缺损），左手自然下垂抚膝，双腿交叉而坐。神情自若，姿态典雅端庄。整体比例精当匀称，舒展大气，给人以回味不尽的美感。
+参见北魏另一尊相似的交脚菩萨像: [[弥勒佛:66018|5世纪北魏石雕交脚弥勒菩萨(纽约大都会博物馆)]]
+交脚菩萨造像是我国魏晋南北朝时期十分流行的样式，交脚坐姿应当是早期印度和中亚等国帝王和贵族采用的一种坐姿，是帝王和贵族的尊贵身份象征。古印度的弥勒菩萨造像类型在魏晋时期陆续进入中土，国王的交脚尊贵坐姿也一同被传入，并逐渐被中土信众所追捧。交脚弥勒菩萨作为帝王风范的造型开始遍布于中土的佛教石窟，尤其是皇家石窟。但交脚观音菩萨像比较少见。
+----
+这尊雕像很可能是弥勒菩萨。与之最为相似的实例见于山西云冈第5窟及第25窟（？）的弥勒像。更早的例证则是敦煌第275窟中的弥勒像，其年代可追溯至五世纪初。这些造像皆具备共同特征：交脚坐姿、头冠饰有化佛、右手上举掌心向前施无畏印。
+中国佛教艺术中观世音菩萨的形象最早出现于四世纪末。至六世纪末，其标准造像已基本定型，其特征包括手持净瓶与莲枝（或柳枝），冠上有时饰有化佛——而在云冈，冠上化佛原是弥勒菩萨的标志。
+在观音信仰发展的早期阶段，观音常作为弥勒的胁侍菩萨出现，如甘肃天水炳灵寺五世纪初的弥勒壁画所示。直至六世纪末观音崇拜逐渐盛行后，其独立造像才得以流行。
+目录卡建议该像原属第25窟，但此定位尚需进一步考证。关野贞与常盘大定在云冈研究的奠基性著作中，记录了从四世纪末至五世纪末或六世纪初的20个洞窟，未提及第25窟——该窟在中国文献中也鲜有记载。
+This statue is most likely the Bodhisattva Maitreya. The closest examples are the Maitreya statues in Caves 5 and 25 (?) at Yungang, Shanxi Province. An early example is the Maitreya in Cave 275 at Dunhuang, which dates to early fifth century. All these statues share the same attributes, a seated posture with crossed legs, a crown with a Buddha image, and the right hand held upright with the palm facing forward in a gesture of allaying fears (abhaya mudra).
+The representation of the Bodhisattva Avalokiteshvara (Guanyin) in Chinese Buddhist art first appeared in the late fourth century. By the late sixth century, it had assumed its standard image, characterized by the water flask and lotus stem, or willow branch, in his hand, and sometimes an image of the Buddha on his crown, which, at Yungang, was on the crown of Maitreya instead.
+At an early stage of its development, Avalokiteshvara was often depicted as an attendant of Maitreya, as is seen in the Maitreya mural at Bingling Temple in Tianshui, Gansu, which dates to the early fifth century. It was not represented by itself until the late sixth century, when the worship of Avalokiteshvara gradually gained popularity.
+More investigation is needed to confirm Cave 25 to be the original locus, as proposed on the catalogue card. In their seminal work on Yungang, Sekino and Tokiwa list 20 caves that range from late fourth to late fifth or early sixth century. They didn’t mention Cave 25, which is little recorded in Chinese sources.
+来源:\\
+Cave 25, Yungang, Shanxi Province 雲崗第25窟\\
+[ Paul Mallon , Paris, until 1922; sold to MMA]
+馆藏号: 22.134
+展览:\\
+New York. The Metropolitan Museum of Art. "Weber Galleries Reinstallation," October 14, 1998–March 19, 2010.
+著录:\\
+Migeon, Gaston, Alexandre Moret, and Maurice Pezard. Collection Paul Mallon. [Paris]: publisher not identified, [n.d.], pl. VI.\\
+Chavannes, Edouard. Mission Archéologique dans la Chine Septentrionale. vol.1 part 2, Paris: Editions Ernest Leroux, 1909–15, p. 317, pl. CXXXIV, fig. 247.\\
+Bosch Reitz, S. C. "The Statue of a Bodhisattva from Yun-Kang." The Metropolitan Museum of Art Bulletin 17, no. 12 (December 1922). pp. 252–55.\\
+Ashton, Leigh. An Introduction to the Study of Chinese Sculpture. London: Ernest Benn, Ltd., 1924, pl. 13.\\
+Sirén, Osvald. Chinese Sculpture from the Fifth to the Fourteenth Century: Over 900 Specimens in Stone, Bronze, Lacquer and Wood, Principally from Northern China. London: Ernest Benn, Ltd., 1925, vol. 1, p. 18.\\
+Sirén, Osvald. Chinese Sculpture from the Fifth to the Fourteenth Century: Over 900 Secimens In Stone, Bronze, Lacquer and Wood, Principally from Northern China. Vol. 2. London: Ernest Benn Limited, 1925, pl. 67b.\\
+de Tizac, Henri d'Ardenne. La Sculpture Chinoise. Bibliothèque d'histoire de l'art. Paris and Brussels: G. van Oest et cie, 1931, p. 40, pl. 52.\\
+Sirén, Osvald. Kinas Konst Under Tre Artusenden I. vol. I, Stockholm: Natur och Kultur, 1942, p. 336, fig. 227.\\
+Priest, Alan. Chinese Sculpture in The Metropolitan Museum of Art. New York: The Metropolitan Museum of Art, 1944, p. 25, pl. 20.\\
+Zheng Zhenduo 鄭振鐸. Weida de yishu chuantong (The Great Tradition of Chinese Art) 偉大的藝術傳統. vol. 2, Beijing: Wenwu chubanshe, 1954, pl. 3.\\
+Sickman, Laurence, and Alexander Soper. The Art and Architecture of China. [Baltimore]: Penguin Books, [1956], p. 46, pl. 30b.\\
+Lippe, Aschwin. "A Gilt-bronze Altarpiece of the Wei Dynasty." Archives of the Chinese Art Society in America 15 (1961).\\
+Chow, Fong. "Chinese Buddhist Sculpture: Part I." The Metropolitan Museum of Art Bulletin, n.s., 23, no. 9 (May 1965). p. 309, fig. 10.\\
+Lippe, Aschwin. "The Religions of Asia." Apollo Magazine 82, no. 43 (September 1965) pp. 220–29, fig. 2.\\
+Fong, Wen C., and Hearn, Maxwell K. "The Arts of Ancient China." The Metropolitan Museum of Art Bulletin, n.s, 32, no. 2 (1974) 1974, n. p., fig. 56.\\
+James C. Y. Watt. "The Arts of Ancient China." The Metropolitan Museum of Art Bulletin, n.s., 48, no. 1, Summer 1990. p. 49, cat. no. 58.

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