Page 36 - Christie's Buddhist Art May 29, 2019 Hong Kong
P. 36

2706 Continued

               The inscription on the current stone figure records that on the twenty-  ζՈ㉰㉠ঙ䢲܃ᆾ˗঺η㡈㮸ڪ䢲๽ᆾᑟծႲڪǐ㌪⑨⻻⽀䢲⣰⥦㒴ֱ⼄㣹䢲
               eighth day of the first month of Jiajing twenty-eighth year (1549), the   㢳⇶↹Բ঺⿏䢲㢳ߙₙຯ࿇ⓑǐ˗ᑜ᳦㢳൬Ⰸ༃䢲Ⰸ༃܃ᑜ㡠ח㘝ᐷ䢲⁳܃ܙ
               family of He Tianchong, a military family from the Zhending area of Hebei   ๽↿־ᕊഘ䢲ՏˏⅮˏډՍದǐ㘝ᐷଫ˗䣀
               province, sponsored the reconstruction of a Guanyin Temple in their
               village. In collaboration with the monk Yuan Duan, the He Family also   ૯ᒝ४↿㢗⇞೛໼⎘᢮܃⻘๽ᆵⅮᆮ཯˗㌻Пૈ࠶́ΰ૰ഠ䢲⿉ॼⲽ৬✥ ᖐ
               commissioned the current stone Buddha, as well as other figures of Anan,   ⍻٫ݙڣᖐ൓Ϊ䢲㕵⤕⿭㦈ਕ䢲⦪㐤₤㡫ζˏബǏ㠾㢼؟⮂̣ബǏΛⳇㄼ᧊̣
               Kasyapa and Sangharama bodhisattvas which are now lost. According to   ബ䢲ܔՏ⦪㐤ΰ૰ഠୗ㒹ᤧǏ᢮ᤧǏ㟌⁸ΰ್δ⢒ᤧǏΰ್♘἖ᤧǏ㟌಴ΰྥ٫ǐ
               the research of the scholar Chen Yi-An, the monk Yuan Duan was likely   ࢦ㤏̣ډՋໝ᢫ᕕཋՋᑽ⒤䢲⊅ٱᖍਕǏ܂㑆㐤ǐӢ́८Ⓕǐ
               to be related to the Buddhist sect of Linji which was active in the Hebei
               area during the mid to late Ming dynasty (see Chen Yi-An, ‘Stone Buddha   ྐྵ˖ᐷۿ⿉䢲᢬㐤ӏ⁳ᦪ٫⇞೛໼㌻ᆮΰ૰ഠ೰ᑬϭ㐤䢲˩ᕖӢ́८Ⓕⅲ۞⧀ǐ
               Sculpture Sitting on Stand Carved by the He Tianchong Family from   Ꭿೀ⡅㡣ဘ೎⡃Ꭿ䢲८Ⓕᕖۿ⣵ᒶ⦨ᰵ೘⇞೛ঃڈⓧཋˑ͞Ӣ́䢲⿉ՒᐷǕᮗ
               Year 28 of Ming Jiajing Rule (1549)’, Study of the Arts, Taipei National   བྷ㐤ӏⅲ࿂⧁ĜĜᒝࢦ㤏ཋՋໝ䢮    䢯ΰ૰ഠ೰ᑬ㐤⊅חζঙӏ⡃ǖ䢲ǗⳔ
               University of the Arts, May 2016 (no. 31), pp. 280-284.)  ⻒ೀ⊝②ໝ਺ǘ䢲४⒤⦶٫Ⳕ⻒૯ೀ䢲     ໝ   ᕕ䢮ⓧ˕ډˏᕩ䢯䢲㦓
                                                                        ǐ㘝ᐷዠ׍ΰᤧ೰ᑬܔᓁϭ㐤㠾㢼؟⮂̣ബۢΛⳇㄼ᧊̣ബ䢲ήຄ㑦૷䢲
               Even though the current seated Buddha is carved with a two-tiered
               unisha, an influence from Tibetan Buddhist art, it is noted for its rounded   ᕴζӏᅠᒶᐷˮዠ׍ⅲǙ₤㡫ζǚǐǙ₤㡫ζǚ㤖ҷ⚗ζՔⅲബܕ䢲Ꭿ㡣ဘ೎
               face, heavy robes and columnar body.  These are Chinese characteristics   ⡃②䢲Ǚ₤㡫ǚ૯ሌᒶቋঙ٫ܙڙ䢲̣ದ̷ᕍ֨ήᑞǗ᜝र⚯ǘ䢲˩ۿ⣵⧀ᒝ
               that clearly deviate from Tibetan-influenced Buddhist images modelled   ˮᓑᕩ䢲֨ήॼ⬹٫ঃڈⅲᤩ㟢⏹೺೘ᐓ㷌૰㑆ᕖ㠛ǐ
               with broad, muscular torsos and narrow waists which were popular
               during the early Ming dynasty.  With its combination of Chinese and   ᕴ㐤ӏ㤚㧎ങ८䢲㢳⇶♢റ䢲⇶⿰˖ዩ䢲˖㌪⛪ᚆᆶໜ䢲㌪⑨㢳㦨঺⢵བྷ⻻⽀䢲
               Tibetan elements the present figure is an important example of Buddhist   㓅ᒶᮗབྷ㐤ӏⅲ㧰ᙂ䢲⧀ᒝ׀೫ངζӏ͠ⳉҷ㧰ᙂ᳦˹Ǐཱ゠㌪㌴⛪ᚆۢ㨪᭸
               image making in the mid to late Ming period.          ⢢⢟ⅲូབྷᒝ㧩㏾₢ǐ⧀᢬ܔᓁ䢲ζ㦷㦔˖ⅲ̣㕵⢟㭯⧀ҷ⚗ᮗঃັ⿉ⅲ࡚
                                                                     ൬ໜ⛸⑪㈯ⅲྋབྷ˙ܔ䢲ۥ⡊⧀ⳉབྷ㐤াⅲ㭙⢐㢳㕵㦔㭯㍨዁㏩䢮עཛᐷ䢲㦓
                                                                            䢯ǐۿ⿉᢬㐤ӏ㢰͠ᮗབྷ㧰ᙂ᳦˹䢲΢ܔᓁຯᕖⳉҷζᐓⳔ⻒Ԭ♘䢲
                                                                     യ⊝②ᒝ͞ˮᓑᕩζᐓ㢯חᕖ㕵⿀ⅲ۞⡃ӱѢǐ
















































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