Page 22 - Nitta Neitreya Buddha Christies Hong Kong May 2018

fig. 6 A limestone Maitreya stele, dated by inscription to 687 C.E.
The Avery Brundage Collection, Asian Art Museum San Francisco
圖六 唐垂拱三年 ( 公元 687 年 ) 石雕彌勒佛造像
布倫戴奇捐贈 舊金山亞洲藝術博物館藏品

early Tang date, as do the eyes and associated eyebrows and the elegant 樣式（袍褶不多且分佈不均），則較為接
presentation of the robe with its few folds asymmetrically disposed. The 近隋末唐初之風格。新田舊藏一尊結善跏
treatment of the robe finds parallels in a Sui-dynasty, gilt bronze Maitreya 趺坐的隋代鎏金銅彌勒像，其袈裟的描寫
seated in western fashion with legs pendant and formerly in the Nitta 16
16
Collection, though the present sculpture probably is a little later than 與本拍品大同小異， 但本拍品的年代可
that Sui example. 能比該隋代雕像略晚。
Perhaps the sculpture closest in style to the present Buddha is that within 風格最接近本尊之作，也許是舊金山亞洲
a niche in a small stone stele dated by inscription to 687 C.E. and in the 藝術博物館藏一方小碑龕內的雕像（館藏
collection of the Asian Art Museum, San Francisco (B60 S36+)(fig. 6). 號 B60 S36+）（圖六），其銘文紀年
The stele depicts the Buddha Maitreya seated in Western fashion with 為 687 年。此碑的彌勒佛結善跏趺坐，
legs pendant and flanked on either side by a monk, or disciple, and a 左右各有一名脅侍高僧（或尊者）及菩
bodhisattva. Both the present gilt bronze Maitreya and that in the stele
claim a tall ushnisha, a rectangular face, three clearly articulated folds 薩。是次拍賣的鎏金銅像與石碑上的彌勒
around the neck, and a slender body with narrow shoulders. Even so, 佛均肉髻高聳，臉容方正，頸有三道深
the treatment of the eyes and eyebrows differs significantly in the two 褶，且頎身窄肩。然而，兩者在眼睛與眉
sculptures. The 687 C.E. Maitreya on the stele exhibits large, downcast 毛的處理上迥然有別。687 年石碑的彌
eyes set under bulging lids, and its crisply defined eyebrows result from 勒佛大眼垂視，眼瞼微鼓，彎眉線條明
the sharp intersection of forehead and eye socket planes, all of which 快，且恰好位於前額與眼眶交接處，在在
anticipate the mature Tang style of the eighth century; by contrast, the
eyes of the gilt bronze Maitreya look directly ahead, the eyelids only 預示了八世紀唐代成熟期的風格；對比之
partially closed, and the more complex eyebrows display the chamfered 下，鎏金銅佛雙目平視，眼瞼半闔，眉毛
edges and beveled indentations that accentuate the eyebrows and that 細節更為複雜，用倭邊和斜面凹痕來突出
embody the Sui to early Tang style. In addition, the arrangement of the 眉形，此乃隋至唐初的典型風格。再者，
present gilt bronze Buddha’s robe with just a few folds asymmetrically 本尊的袈裟衣褶不多，且分佈不均勻，與
arranged contrasts with that of sculptures from the second half of the 七世紀下半葉以降的雕像（如舊金山石碑
seventh century and later—including the robes of the Maitreya on the 上的彌勒佛）截然不同，後者通常刻多道
San Francisco stele—which typically boast a number of linear folds—
sometimes termed “string folds”—that cascade between the figure’s 弧狀衣紋（英文又稱「string folds（線
legs in a series of descending arcs. The robes of such sculptures from 褶）」），似雙腿之間簇集而下的一組圓
the mid-seventh century and later generally cling tightly to the legs, 弧。七世紀中葉以降，此類雕像的衣袍一

18 The Nitta Maitreya 新田舊藏鎏金銅彌勒佛