佛像网

尺寸：高18.7 cm
年代：8世纪
质地：合金铜
风格：尼泊尔
来源：拍卖会
成交：108,800美元(2026.03)
参阅：外部链接
鉴赏：
这尊图像学上更像是尼泊尔早期的金刚手菩萨立像, 只是左手没有持金刚杵; 这个时期尼泊尔的观音立像通常右手通常是下垂的
-Artemis注

A copper figure of Avalokiteshvara, Nepal, Licchavi period, circa 8th century

来源:
Oriental Antiquities Ltd., London, 1969.
Collection of Jack (1926-2017) and Muriel (1929-2019) Zimmerman.
Himalayan Art Resources item no. 2738.

展览:
Buddhist Art in Licchavi Nepal, Los Angeles County Museum of Art, Los Angeles, 1974, cat. no. 69.
Art of the Himalayas: Treasures from Nepal and Tibet, Newark Museum, Newark; Portland Art Museum, Portland; Phoenix Art Museum, Phoenix; Helen and Clay Frick Foundation, Pittsburgh; Virginia Museum of Fine Arts, Richmond; Pacific Asia Museum, Pasadena; and Tampa Museum of Art, Tampa, 1992, cat. no. 3.

著录:
Pratapaditya Pal, Buddhist Art in Licchavi Nepal, Bombay, 1974, cat. no. 69.
Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, pl. 76D.
Pratapaditya Pal, Art of the Himalayas: Treasures from Nepal and Tibet, New York, 1991, cat. no. 3.

The deity raises his right hand in the gesture of fearlessness and reassurance (abhaya mudra), with the lowered left hand positioned to hold a flower stem. Notwithstanding the lack of iconographic attributes, the figure may be identified as Avalokiteshvara with reasonable certainty, and attributed to the Licchavi period. Inspired by the Indian Gupta period model, the markedly protruding lower lip, aquiline nose, slender proportions and the gentle sway of the hips (tribhanga) epitomize the Licchavi aesthetic in the portrayal of Nepal’s youthful bodhisattvas.

Avalokiteshvara stands on the obconical receptacle of a lotus flower with sepals depicted around the lower rim. Compare the tapered lotus pedestal of the Nepalese Licchavi period gilt-copper standing Buddha in the British Museum, London, also depicting sepals around the lower rim of the obconical flowerhead, illustrated in Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, pl. 76G. The form of the pedestal suggests the statue was not designed to be freestanding, and the flowerhead is likely to have been adjoined below the sepals to a stem in a larger foliate setting. An eighth or ninth century stele in Guita-tol, Patan depicts a central seated figure of dharmachakra Buddha, flanked by Avalokiteshvara on the left and Vajrapani with Vajrapurusha on the right, standing on lotus flowers whose stems and foliage emerge from water beneath; see Mary Slusser, Nepal Mandala: A Cultural Study of the Kathmandu Valley, Princeton, 1982, pl. 466. It is likely that the present lot was similarly incorporated in a triptych or tableau. The renowned eighth century gilt-copper Vajrapani with Vajrapurusha, formerly in the Pan-Asian Collection, illustrated in Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, 75C, and now in the Cleveland Museum of Art (accession no. 1982.52), is likewise not freestanding, and was probably also an attendant group from a larger setting: compare the open back of the pedestal and the tang at the shoulders to affix the group within the composition, illustrated on the Museum's website.

这尊造像右手扬起，结施无畏印（abhaya mudra），左手垂下，原应持有一枝花茎。尽管缺少图像学上的明确标识，仍可较有把握地将其认定为观音菩萨（Avalokiteshvara），并归于李查维时期（Licchavi period）。受印度笈多时期（Gupta period）风格启发，其显著外翻的下唇、高挺的鼻梁、纤细修长的比例以及微摆的臀部（三屈式，tribhanga），集中体现了尼泊尔青年菩萨造像中的李查维审美。

观音立于莲花倒锥形花托之上，下缘饰有花萼。伦敦大英博物馆藏有一尊尼泊尔李查维时期铜鎏金立佛，其莲座亦呈渐收式，莲台下缘同样饰有花萼，可资比较，见乌尔里希·冯·施罗德（Ulrich von Schroeder）著《印度与西藏的铜造像》（Indo-Tibetan Bronzes），香港，1981年，图版76G。莲座的形式表明，此像原非独立安奉，莲台下方可能连接花茎，属于更大的花卉组合中的一部分。帕坦（Patan）Guira-tol地区出土的一尊八或九世纪碑像中，中央为坐在莲台上的转法轮佛，左侧为观音，右侧为执金刚神（Vajrapani）与金刚人（Vajrapurusha），二者皆立于莲花之上，莲茎与莲叶自下方水中生出；参见玛丽·斯鲁瑟（Mary Slusser）著《尼泊尔曼荼罗：加德满都谷地的文化研究》（Nepal Mandala: A Cultural Study of the Kathmandu Valley），普林斯顿，1982年，图版466。本品很可能原本也属于此类三尊像或群像的组成部分。著名的八世纪铜鎏金执金刚神与金刚人像，原为泛亚收藏（Pan-Asian Collection）所藏，见乌尔里希·冯·施罗德《印度与西藏的铜像》，香港，1981年，图版75C，现藏克利夫兰艺术博物馆（Cleveland Museum of Art，馆藏编号1982.52），该像同样并非独立造像，亦可能是较大组合中的胁侍部分：可参看该馆网站所载莲座背部镂空及肩部用于固定的小榫。