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his finely-cast depiction of the bodhisattva Avalokiteshvara, demonstrates the movement
from the stylized volumes of the Sui dynasty towards the fully rounded fleshy form of the
TTang period. The figure is notable for its early adaption of the dynamic sinuous posture,
with the contrapostto thrust of the hips, and elegant proportions, which continued to develop during the
Tang dynasty.
Representations of Avalokiteshvara during the Sui and Tang periods frequently depict the bodhisattva
adorned in princely jewels and a crown, bearing a ‘pure water vessel’, believed to heal or bestow
immortality upon worshippers, in one hand; and a willow branch, also representative of healing, in the
other.
Compare a similar Sui dynasty figure of Avalokiteshvara illustrated in Matsubara Saburō, Chinese
Buddhist Sculpture. A Study Based on Bronze and Stone Statues other than Works from Cave Temples,
Tokyo, 1966, pl. 293. Two other examples attributed to a mature Sui style include one dated 595 in the
British Museum, London, and another in the collection of Mr. Hosokawa, Tokyo, both illustrated in Hugo
Munsterberg, Chinese Buddhist Bronzes, Tokyo, 1967, pls 49 and 50.
ₑᄷ㻭䴠㤖㫖䛾༬ᄣⰥ䥱䕍㞜喑䰃ӊ䮸А㋀ڥ ज℁̭Ⱕ䶋䮸А㻭䴠喑䐶Ძ̶࣌䗻喑Ȩ͚పϼ᪆
ݣ喑♣䋕А䅽㚡䴨ȡ䏘ᒏཉ喑倁ᙸӷ䯲喑ຯ᭜ ᒘݨटⵁ⾣喟➦ɫ䛾䞲ϼࣷɳⴠ⿌䕍Вใɮⴠϼ
䕍ಸᬖౕₑጟ㺸┘㼡喑ᒹ㜠Аᘵߍ⮩ᆂȡ ɫɤɄɦɮ䀃㔰ȩ喑Პϙ喑1966Ꭱ喑ృ❵293ȡओ
ᰶιҸ喑נͰ䮸А⛌䷕ᵩ喑ڣ̭喑㈭595Ꭱ喑
䮸ൾ㻭䴠ᒏ䆎็ڤ䇡ھ⅐ắ喑Җᄣ⤍喑ᝡ㤜ۍ喑
᪓๔㠞ࢇ➖乕㧱喑ڣι喑Პϙ㉝ጊℼ㫼喑䠱 Hugo
̭ច⌕⨣喑◧ԎⱫ㿬㠓㼐ࢱ喑㋬ᐣ⺼ส喑̭ᠮṷ
Munsterberg喑ȨChinese Buddhist Bronzesȩ喑
ᴠ喑ϓᰶ䮑⫲⺈⬈᩵ȡ
Პϙ喑1967Ꭱ喑ృ❵49ࣷ50ȡ
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