佛像网

尺寸：219.7 × 111 cm
年代：唐代 8世纪(725/50)
质地：石灰岩石雕(Limestone with traces of polychromy)
风格：中原
来源：芝加哥艺术博物馆
参阅：外部链接
鉴赏：
在从印度传入数个世纪之后，佛教于气象万千、兼容并包的唐朝在中国蓬勃发展。这尊宏伟的佛像具有唐代典型的健硕而渐收的体态，展现出佛陀独有的图像学特征：紧致的螺髻覆盖颅顶，象征其觉悟；额前的凹坑原镶嵌有宝石或珠玉，代表智慧。佛陀通肩袈裟上清晰的衣褶线条，将印度的感性表达与唐代特有的写实与线性优雅融为一体。袈裟覆盖右肩，巧妙地调整了印度佛教律典中所描述的偏袒右肩样式。

阶梯状的台座从莲瓣环绕的基座向上攀升。莲花是出淤泥而不染的洁白花朵，因此唤起了佛教关于清净与求悟的信念。台座之上，环绕束腰莲茎的飞天乐伎营造出理想的天界氛围。

这尊佛像与芝加哥艺术博物馆收藏的两尊胁侍菩萨（藏品号1930.84和1930.85）一同于1930年入藏，并附有出自河北省北部藏佛寺的发现记录。目前尚未找到考古或文献记录来证实这一出处。这些造像的尺度及石材表明，它们可能是为某一石窟寺或佛龛（即开凿于山体或崖壁上的石窟）而施造。

Following its introduction from India centuries earlier, Buddhism flourished in China under the powerfully cosmopolitan Tang dynasty. Characteristic of Tang style in its robust, tapered physique, this monumental figure exhibits iconographic features distinctive to the Buddha: tightly curled hair covering a cranial mound symbolizes his enlightenment; and a forehead depression that originally held a stone or jewel represents wisdom. The articulated folds of the deity’s flowing robe integrate Indian sensuality with a distinctly Tang blend of realism and linear elegance. Capping the deity’s right shoulder, this garment discreetly modifies a fully bare-chested style described in Indian monastic texts.

The stepped pedestal rises from a base encircled by lotus petals pure white flowers that rise from muddy water and thereby evoke Buddhist beliefs in purity and the search for enlightenment. Above, musicians encircling the tapered stem evoke an ideal, celestial realm.

Together with two attendant bodhisattvas in the Art Institute collection (1930.84 and 1930.85), this sculpture came to the museum in 1930 with a note of its discovery in a temple known as Cangfosi in northern Hebei province. Neither archaeological nor written records have been located to confirm this reported site. The scale and stone medium of these figures suggest that they were commissioned for a cave temple or shrine—a chamber carved into the face of a mountain or cliff.