Page 28 - Bonhams Auction Images of Devotion Oct. 2 2018

This hybrid style then travelled throughout the ancient Silk Road, 此類藝術交融風格其後經過古代絲綢之路，對中亞和五世紀中國的佛
exerting great influence on the Buddhist sculpture of Central Asia and 教雕塑產生了巨大影響，並在2016-2017年梵天東土 並蒂蓮華：西元
5th-century China, a topic explored thoroughly in the 2016-7 landmark 400-700年印度和中國雕塑藝術展，一次里程碑式展覽中得到深刻的
exhibition, Across the Silk Road: Gupta Sculptures and Their Chinese 探索。在展覽圖錄的討論中，策展人羅文華認為河西走廊和北魏王朝
Counterparts during 400-700AD. In the catalog’s discussion, Luo 中心地帶發現的眾多五世紀石器和銅造像，反映了歐亞大陸文化交流
remarks on numerous 5th-century stone and bronze sculptures found 所產生的犍陀羅與笈多的混合風（見於《梵天東土 並蒂蓮華》，卷
between the Hexi Corridor and the Northern Wei dynasty’s heartland, 二，北京，2016年，頁146-7）。
reflecting a hybridity of Gandharan and Gupta styles that resulted from
cultural exchange across the Eurasian continent (Luo in Across the Silk 此座塑像也許是為古代絲綢之路一個重要貿易中心或附近的重要佛塔
Road, Vol.II, Beijing, 2016, pp.146-7). 所造，很可能來自現阿富汗的哈達。笈多國王沙摩陀羅·笈多在四世
紀征服了古代犍陀羅的領土後，與印度北部的貿易越來越頻密。此雕
The sculpture would have been produced at an important stupa 塑展示了當時對佛陀容貌認知的轉變，犍陀羅風的肌肉健碩融合了笈
located in or near a key commercial center along the ancient Silk 多風的柔美。佛陀祥和的神態也有所轉變，犍陀羅風的自信增添了更
Road, likely in modern day Afganistan, such as Hadda. Increased 多笈多風的靜謐內斂；造像依舊保有衣褶厚重的犍陀羅式長袍。相關
trade with northern India followed the Gupta king Samudragupta’s 作品刊於栗田功著作，《犍陀羅藝術》，卷二，東京，1990年，編
subjugation of territories within Ancient Gandhara in the 4th 號305，並於佳士得售出，紐約，2012年3月20日，拍品12號，本拍
century. The sculpture shows shifting perceptions of the idealized 品比此兩尊的品相更佳，顏色保存更好，造型更優美，神態更沉靜。
physiognomy of Buddha’s body, from the muscular Gandharan
to the supple Gupta. Also shifting is the character of Buddha’s 著錄
serene expression, from the confidence of the Gandharan style to 錢德雷·巴蘇，《Displaying Many Faces: Art and Gandharan Identity,
the quietude of the Gupta. Yet the heavy Gandharan robe remains. Selection from the David R. Nalin Collection》，中國，2004年，頁
Related examples are published in Kurita, Gandharan Art, Vol.II, 80，編號81。
Tokyo, 1990, no.305 and sold at Christie’s, New York, 20 March
2012, lot 12, the present sculpture comparing favorably to both 來源
with its better preserved pigmentation, more graceful modeling, and David R. Nalin收藏，自1992年
invoking calm.

Published
Chandreyi Basu, Displaying Many Faces: Art and Gandharan Identity,
Selection from the David R. Nalin Collection, China, 2004, p.80,
no.81.

Provenance
David R. Nalin Collection, since 1992

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