Page 38 - Bonhams Auction Images of Devotion Oct. 2 2018

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A STUCCO PANEL OF BUDDHA SURROUNDED BY 泥塑佛碑
BUDDHAS AND BODHISATTVAS 犍陀羅，四/五世紀
ANCIENT REGION OF GANDHARA, 4TH/5TH CENTURY 嵌於後製木板。
Inset sections on a later wooden panel. 高111釐米（43 3/4 英吋）;
111 cm (43 3/4 in.) high; 寬156.5釐米（61 1/2 英吋）
156.5 cm (61 1/2 in.) wide
3,000,000 - 5,000,000 港元
HK$3,000,000 - 5,000,000
此塊極為罕見的泥塑碑刻劃佛陀雙手結禪定印於正中。身著通肩式厚
Buddha meditates at the center of this exceptionally rare stucco 重袈裟，衣褶刻劃巧妙，頭髮自然捲曲。佛首上拱型處存留下五節華
panel. He wears a heavy pleated robe draped naturalistically over 蓋。佛陀兩側展示出二十三尊佛陀及菩薩，樣貌各異，雀躍而集。
his body, and his hair is molded in wavy locks before a nimbus. A
canopy surviving in five sections arches over his head. The remaining 這一由諸佛及菩薩圍繞主佛的主題重要而稀少，相關的一組犍陀羅造
two sections on either side display twenty-three buddhas and 像亦成為學者們熱切討論的研究對象。在這些雕塑中最為著名的是”
bodhisattvas emanating from him, each modeled differently from the 穆罕默德納里石碑”（Muhammad Nari Stele），石碑右上角刻劃了
other in a joyous congregation. 類似本作品的場景（Luczanits（編），《The Buddhist Heritage of
Pakistan》，紐約，2011年，頁163，68號）。Harrison和Luczanits
This panel’s rare and important subject matter, showing other 對學者們就穆罕默德納里石碑的不同觀點進行了研究（Harrison &
buddhas and bodhisattvas emanating from a principal Buddha, Luczanits，”New Light on（and from）the Muhammad Nari Stele”，
relates to a group of Gandharan sculptures eagerly discussed by 《BARC, International Symposium Series》，大谷大學，2011年，
scholars. Among these sculptures is the famous ‘Muhammad Nari 頁69-127）。福什（Foucher）在1909年對此主題提出了第一個解
Stele’, which shows a similar emanating scene in its top right corner 釋，認為其詮釋了釋迦牟尼的”舍衛城神變”，即佛陀為馴服外道六
(Luczanits (ed.), The Buddhist Heritage of Pakistan, New York, 師，在舍衛城施展神變分百萬身的故事（詳細內容參見Brown, “The
2011, p.163, no.68). Harrison and Luczanits survey competing Sravasti Miracles in the Art of India and Dvaravati”, 於《Archives of
interpretations of the Muhammad Nari Stele (Harrison & Luczanits, Asian Art》，37期，1984年，頁79-95）。
“New Light on (and from) the Muhammad Nari Stele”, in BARC,
International Symposium Series 1, Otani University, 2011, pp.69-
127). Proposed by Foucher in 1909, the first interpretation sees
the emanating buddhas representing Shakyamuni’s ‘Great Miracle
at Sravasti’, an episode from his life story where he multiplied his
form a million-fold in front of dumfounded critics from prevailing
philosophical schools (for further discussion, see Brown, “The
Sravasti Miracles in the Art of India and Dvaravati”, in Archives of
Asian Art, no.37, 1984, pp.79-95).

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