尺寸：Overall: 218.5 cm
年代：宋代-金代 12世纪
质地：木雕彩绘漆金
风格：中原
来源：克利夫兰艺术博物馆
参阅：外部链接
鉴赏：
佛教艺术瑰宝：解析克利夫兰的十一面观音造像

这件木雕立像高达218厘米，栩栩如生。它头戴华丽的天冠，上身斜披一条长帛，下身穿着双层错落的衣裙，显得优雅而庄重。其胸前璎珞装饰着一排排重八瓣珠花，展现出独特的韵味。值得一提的是，这件木雕并非简单地将璎珞与主体泥塑后贴合，而是经过精心雕琢，由一整段柳木一体成型，这种精湛的工艺实属罕见。

十一面观音造像的衣纹设计别具匠心。观音的形象庄重而慈祥，眼睑低垂，仿佛在凝视着世间万物，其姿态重心略偏向右腿，腰部自然弯曲，展现出一种虽静犹动的韵律感。尽管缺少了敦煌S形菩萨造像的动感与婀娜，但十一面观音造像却在持重中透露出独特的韵律。菩萨的右臂已遗失，左侧仅存的半臂，为这尊造像增添了一抹残缺之美。在材质塑造上，该造像展现出了卓越的技艺，尤其是膝部以下的裙摆设计，波纹起伏，仿佛在风中轻轻摇曳。其上的漆饰彩绘色彩华丽，从残存的细部可以看出，采用了类似宋代戕金技术的地纹装饰，以及多方连续的三角图案，内嵌点点花纹。这种纹样在宋代南方地区颇为流行。

当然，这种相似的纹样并非仅见于一处，例如，在张大千临摹的敦煌壁画唐西方净土变图中，我们可以看到反弹琵琶舞者脚下所铺的地毯，这为我们提供了进一步理解的线索。综合上述几点，尽管馆方将时间鉴定为北宋至金，但其中所蕴含的前朝因素不容忽视。笔者更倾向于将其时间范围缩小至北宋。此外，观察辽金时期的菩萨木立像，其直立的身姿、壮硕的躯干以及庄重的面容，似乎也为这一观点提供了有力的佐证。

观察十一面菩萨的背部，我们可以发现其头部和后背均精心打造了一个长方形孔洞，这显然是遵循“装脏”宗教仪轨的明证。在佛像制作完成后，为了进一步提升其神圣性和赋予神力，通常会进行“装脏”仪式，即在佛像背后开设孔洞，并放入丝绢制成的内脏，或是更常见的佛教经典。而头部孔洞的设立，则是为了妥善安置头光。如今，我们依然可以清晰地看到，在开槽的底部，工匠们使用圆凿的弧刃精心铲削剔除木料的痕迹。同时，从木纹的走向进行分析，整个造像在构图上明显偏向左侧，这一设计无疑为菩萨的背部增添了别样的韵味。观察十一面菩萨背部，我们能够从15-20度的角度位置，大致想象出当时整块木材的宏大体量。

十一面菩萨的天冠，以其精美的设计而著称，特别是那十个观音面（头）的布局。在冠的前部，一个中大的叠罗观音面位于中央，左右两侧则各均匀布局四个小观音面，共计十个，与本尊合一，构成了十一面观音的特色。然而，由于年代久远，如今我们只能清晰看到中大的一个观音面，其余的已难以辨认，这无疑是一种遗憾。好在，佛像的琉璃眼珠依旧保存完好，至于那标志性的白毫是否为历代流传中的补嵌物，就不得而知了。通常，此位置的宝石遗失的情况较为常见，能够保留下来的往往也已非原装。

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Eleven-Headed Guanyin
十一面觀音菩薩
1100–1200
China, late Northern Song dynasty (960-1127) - Jin dynasty

The bodhisattva is an enlightened being dedicated to the spiritual awakening of all beings. The compassionate bodhisattva Guanyin, in a variety of manifestations, is probably the most popular deity of worship in Chinese Buddhism. In the Esoteric Buddhist form shown here, this standing Guanyin has a total of eleven heads, with smaller ones above the principal head. The uppermost head represents the Buddha Amitabha, to whom he is closely related. The eleven heads symbolize the Buddha’s steps on the path to enlightenment.

传承:
October 19, 1944
(Sotheby's, New York, NY, sale October 19, 1944, lot 229, sold to C. T. Loo)
1944–1952
(C. T. Loo 盧芹齋 [1880–1957], Paris and New York)
?–1980
Anne Valliant Burnett Tandy [1900–1980], Fort Worth, Texas, consigned to Sotheby's New York
November 6, 1981
(Sotheby's, New York, NY, sale November 6, 1981, lot 50)
1981
(J. E. Eskenazi, Ltd., London, England, sold to the Cleveland Museum of Art)
1981–
The Cleveland Museum of Art, Cleveland, OH

著录:
Sotheby Parke Bernet Inc., New York. Chinese Objects of Art. 19 October 1944. Lot 229. Mentioned: Lot 229

Sotheby's New York. Fine Chinese Ceramics, Works of Art and Paintings. 6 November 1981. Lot 50. Reproduced: lot 50

Lee, Sherman E. “The Year in Review for 1981.” The Bulletin of the Cleveland Museum of Art 69, no. 2 (February 1982): 39–82. Reproduced: p. 71; Mentioned: p. 83, no. 136 www.jstor.org

“Annual Report for 1981.” The Bulletin of the Cleveland Museum of Art 69, no. 6 (June 1982): 159–206. Reproduced: p. 174 www.jstor.org

Norton, Thomas E. Foreward by Douglas Dillon. 100 Years of Collecting in America: The Story of Sotheby Parke Bernet. New York: H.N. Abrams, 1984. Mentioned: p. 218

Guo li gu gong bo wu yuan 國立故宮博物院. Hai wai yi zhen. fo xiang [海外遺珎. 佛像 = Chinese art in overseas collections. Buddhist sculpture]. Taibei Shi: Guo li gu gong bo wu yuan, 1990. Reproduced: p. 152

Cunningham, Michael R., Stanislaw J. Czuma, Anne E. Wardwell, and J. Keith Wilson. Masterworks of Asian Art. Cleveland, OH: The Cleveland Museum of Art, 1998. Reproduced: pp. 56–57

Sun, Di, editor. Zhongguo liu shi hai wai Fo jiao zao xiang zong he tu mu [中国流失海外佛教造像总合图目 = Comprehensive Illustrated Catalogue of Chinese Buddhist Statues in Overseas Collections]. Beijing: Wai wen chu ban she, 2005. Reproduced: vol. 7, p. 1364 “New in the Galleries.” Cleveland Art: Cleveland Museum of Art Members Magazine vol. 59, no. 1 (January/February 2019): Back cover. Reproduced and Mentioned: Back cover archive.org

Sotheby's (Firm), Hong Kong. Important Chinese art. October 8, 2019. Reproduced: p. 169

展览:
The Year in Review for 1981. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 17-March 21, 1982).