Page 42 - 2020 September Fine Chinese Paintings and Works of Art, Bonham NYC

A Fine and rare marble torso of Maitreya

Tang dinasty

Maitreya, in Buddhist tradition, has two aspects. On one hand, he is 佛教傳統中，彌勒集「菩薩」及「未來佛」於一身。前
a bodhisattva, residing in the Tushita heaven. However, at some time 者居於兜率天；後者在末法末劫時由兜率天下世，普渡
in the future, when the teachings of the historical Buddha Sakyamuni
have decayed and been forgotten, he will descend from The Tushita 眾生，成為現在佛釋迦牟尼佛的繼任者。其中未來佛之
Heaven into this world and attain enlightenment as a successor to 形象，促成了不少六朝以至唐代的宗教發展和政局動
the Historical Buddha. He will preach a new law and bring peace to 亂。至於尊像雕刻方面，彌勒的分別兩個身分又隨時間
the world as a universal ruler. This messianic aspect to the possible 演化出不同式樣。北魏工匠製作彌勒菩薩時，會將其塑
immanent arrival of Maitreya into the troubled world inspired several
religious movements and political rebellions from the Six Dynasties 造成一個配戴鑽飾、胸前披長巾的印度王子。下身裹裙
to the Tang period. How the two aspects of Maitreya were depicted 圍雙腿，於身前交疊，又或作打坐狀，左腿平置於下垂
in sculpture also changed over time. As a bodhisattva, he was 的右腿之上。七世紀彌勒佛文化復興，其形象演變成與
depicted by Northern Wei sculptors as a bejeweled Indian prince 釋迦牟尼、阿彌陀和大日如來佛身披同一款袈裟。但有別
wearing a long scarf over his bare chest and a long dhoti around
his legs either crossed in front of him or with the left leg parallel 於他們盤膝而坐之勢，彌勒佛坐像兩膝分開，雙腿下垂。
and resting on the pendant right leg when shown seated. With the 此等式樣皆有助我們辨識這尊莊嚴的大理石身像為未來
revival of the Maitreya cult in the seventh century, he wears the same 佛彌勒佛。
monk’s robes as Sakyamuni, Amitabha and Vairocana Buddha;
but, instead of sitting as they do with legs crossed in the posture 大理石身像中最引人注目的，可算其衣襟下像真的身
of meditation, Maitreya sits with his legs pendant and knees apart. 軀。厚重的頸部、胸膛肌肉清晰可見。袈裟襯裡從左肩
This is also the pose and dress that identities this impressive marble
fragment as Maitreya, the Future Buddha. 橫斜至右下，前方作索結。外披的長袍廣袖，沿手、腿
垂下至座前，索結延伸出的衣帶又稍微垂出袈裟，衣褶
Perhaps the most striking feature of this marble fragment is its
realistic portrayal of a seated figure revealed beneath drapery. 處理簡練為美，自然流暢。
The remains of his thick neck and developed pectoral muscles 唐代彌勒佛藝術中，最出眾的例子可數龍門石窟第
appear above his inner garment that crosses from his left shoulder
downward to the right and is secured around his full chest by a 565窟惠簡洞內的巨型未來佛倚坐像。從673年的刻
knotted sash. The voluminous outer garment spreads in unevenly 文中得知，此乃唐高宗（650-683年）及其妻武則天
spaced pleats and folds that suggest the natural effects of gravity as （684-704年）所開鑿的洞窟。其後，武則天於690年，
they fall across the arms, pendant legs and the front edge of the seat 自立為帝，將國號為周，自稱彌勒佛轉世。Howard
supporting him. Even the loop to the knotted belt falls over the upper
edge of the outer garment in a natural manner. 教授認為，惠簡洞彌勒佛佛像的袈裟底下，胸膛和
臂彎強壯，反映出當時對身軀理想化的傾向和自然
A most impressive example for the interest in the cult of Maitreya
during the Tang period is the huge seated figure of the Future 表達 （見 Angela Howard、Wu Hong、Li Song 及
Buddha carved in cave 565 at Longmen, commissioned by the Yang Hong，Chinese Sculpture [Yale University and
eminent abbot Huijian. The dedicatory inscription dated 673 places Foreign Language Press, 2006]，頁298及301，圖
its construction during the reign of the emperor Gaozong (650-
683) and his wife Wu Zetian (684-704), who usurped the throne as 3.108）。相反，675至700年間相對小型的佛像，則較
emperor of the second Zhou dynasty and proclaimed herself as an 少同類特徵。
incarnation of the future Buddha Maitreya in 690. Professor Howard
sees an idealized kind of realism reflected in the full chest and strong
limbs to a natural body discernable under incised robes of this
Maitreya (see Angela Howard, Wu Hong, Li Song and Yang Hong,
Chinese Sculpture [Yale University and Foreign Language Press,
2006], p.298 and p.301, il. 3.108). However the same traits are less
apparent sculptures of smaller scale from the years 675 to 700.

40 | BONHAMS