佛像网

尺寸: H 93.8, W 39.5, H 53.0
年代: 12世纪 平安时代后期
质地: 挂轴；绢本设色；漆木贴金
风格: 日本
来源: 奈良国立博物馆
参阅: 外部链接
鉴赏:
Thousand-Armed Kannon (Sahasrabhūja)

There is a statue of the bodhisattva Avalokiteśvara that joined the museum’s collection from Kōfukuji Temple, and this painting was folded up and interred within it. The painting is a magnificent image of Senju Kannon (Skt. Sahasrabhuja-āvalokiteśvara). There are many elements to this work that exemplify the perfections of later Heian-period Buddhist painting: its composed and tranquil expression, the details of its form outlined in red with a precise but free hand, and the addition of silver foil to embellish the floral and arabesque designs of its mandorla.

Buddhist Art Paradise: Jewels of the Nara National Museum. Nara National Museum, 2021.7, p.332, no.205-1.

千手观音（Sahasrabhūja）

奈良国立博物馆曾从兴福寺征集得一尊观音菩萨像，本图卷折后纳入像内。此为气势恢宏的千手观音画像，集平安时代后期佛画精髓于一身：仪态安详沉静，身形以朱线勾勒，笔致精到而不失灵动，光背花卉与唐草纹饰点缀银箔。

——《佛教美术 paradise：奈良国立博物馆珍宝展》，奈良国立博物馆，2021年7月，第332页，第205-1号

This statue is well-known as one of the rarest examples of wooden statues in which an independent Buddhist painting was contained. Although several parts are damaged and missing, this statue is recognized as Jūichimen Senju-kannon (Sahasra-bhuja) and the date of production is considered to be the late Heian period. The painting may have been made slightly earlier than that. Although the size is small, the painting shows a dignified Buddhist figure with a decorated canopy and a seat. The contrast of red and green is a key-note of the coloring, and various colors and gold and silver foils are finely arranged. Depiction is not accurate, and a gentle air can be sensed in this picture. The arms, which are arranged as if they were part of the halo, modify the unfamiliar appearance of the figure. Among Kannon's belongings, most the weapons are omitted probably by intention, and the bowl is represented as a lacquered bowl. These aspects indicate that some court noble worshipped it privately.

Masterpieces of Nara National Museum. Nara National Museum, 1993, p.57, no.40.

此像以木雕佛像中纳有独立佛画而著称，为极罕见之例。像虽部分残缺，然可确认为十一面千手观音，制作年代推定為平安时代后期，画作年代或略早于此。本画尺幅虽小，然佛相庄严，天盖与莲座装饰华美。设色以红绿对比为基调，诸色与金箔、银箔精妙相配。笔法不求工整，透出温润气息。手臂作光环状环绕，巧妙缓和了多臂形象带来的异样感。持物中武器类大多有意省略，钵则以漆碗表现，可见此为某位贵族私人供养之物。

——《奈良国立博物馆名品选》，奈良国立博物馆，1993年，第57页，第40号