Page 43 - 2020 September Fine Chinese Paintings and Works of Art, Bonham NYC

The first is the seated Buddha Maitreya in the Asian Art Museum of 其中一例為舊金山亞洲藝術博物館藏彌勒佛坐像
San Francisco (the Avery Brundage Collection, B61S38+ (27 1/2in （Avery Brundage收藏，B61S38+，（27 1/2寸 [69.9
[69.9cm] high), of polished limestone, associated with the Tang
capital of Chang’an). The inscription dated Shangyuan second year 釐米] 高），灰岩，被指為與唐都長安相關）。坐像題
(675) records its commission by the Buddhist disciple Gao Zhouni 記刻有上元2年（675年）及贊助人名稱，證明唐室以外
and his daughter Huiming – one example of many that document 佛教供養之發展（http://asianart.emuseum.com/view/
patronage of Buddhism away from the imperial court http://asianart. objects/asitem/items$0040:4872）。同時，亞洲藝術
emuseum.com/view/objects/asitem/items$0040:4872 . The Asian Art
Museum Maitreya preserves such features missing from the marble 博物館藏彌勒佛佛像保存了此大理石彌勒佛身像已損失
Maitreya fragment as the head, feet and lotus plants supporting them 的部分，如頭、腳及蓮花飾底座等。雖然亞洲藝術博物
as they issue from the base of the supporting plinth. Although the 館之彌勒佛佛像坐姿自然，但其外衣突起的褶襇形成一
Asian Art Museum Maitreya sits in a believable natural position, the 種重複而對稱的抽象紋理，忽視了現實中物質的基本原
raised folds in his outer garment form an abstract pattern of repeated
symmetrical curves that ignore any effect of gravity. His head is 理。坐像頭部刻工精細，與背後的橢圓背光形成對比。
beautifully detailed, in contrast to the damaged mandorla behind it. 另一方面，寬闊臉上的細節卻令頭部顯得比例過大，甚
However the tiny features on so wide a face give impression that the 至帶有一種溫柔、天真的感覺，有別於前述惠簡洞彌勒
head is too large for the body. One senses a gentle, childlike quality
in this Maitreya instead of the more realistic impression conveyed by 佛佛像和此大理石彌勒佛身像的自然、真實形象。
the much larger Maitreya in the Huijian Cave and this marble Maitreya 類似特徵亦出現在一組大小相約的石刻浮雕中（其中
fragment.
較大的石刻高度為41至42寸之間（104.6至108.1釐
A similar tendency appears among the bas relief panels of similar 米））。石刻刻有披袈裟的彌勒、阿彌陀及大日如來
small size (height of the larger panels varying from 41 to 42in [104.6
to 108.1cm]) that depict Maitreya, Amitabha and Vairocana Buddha 佛坐像，傍邊有穿印度服飾的菩薩立像。此組石刻乃
in monk’s robes seated between standing attendants in the Indian 武則天約於700年特為七寶塔製作（七寶塔同為武則
costume of bodhisattvas. The panels were commissioned by the 天下令加建於長安光宅寺，早於677年建成）。當中部
Wu Zetian around 700 for the Qibaotai (Seven Jewel Tower) added 分石刻刻有長安3及4年（703及704年）題刻，現已分
to the Guangzhai Temple in Chang’an, earlier commissioned by
the Empress Wu in 677. Some of the plaques show the dates 佈於不同收藏中（見Howard，Chinese Sculpture，
Chang’an 3 and 4 (703 and 704) and are now dispersed in various 頁303、306，圖3.112；及Oswald Siren，Chinese
collections (see Howard, Chinese Sculpture, p.303 and p.306, Sculpture from the Fifth to the Fourteenth Century
il.3.112; see also Oswald Siren, Chinese Sculpture from the Fifth to [SDI Publications，Thailand，
the Fourteenth Century [(SDI Publications, Thailand, 1998], volume II,
pp.24-25 and Pl.393A to 397). There is some variation in the quality 1998]，volume II，頁24-25及圖版393A至397）。造
of workmanship throughout. However the majority show a large
head with exquisitely realized features and delicate patterning in the 工方面雖質素不一，但大部分偏大的頭部，皆刻有精細
drapery folds of the garments similar to those described in the Asian 逼真的細節。細膩的褶襇紋理，亦與亞洲藝術博物館藏
Art Museum Maitreya of 675. The imbalance in the size of heads in 675年彌勒佛佛像相似。每個坐佛像和菩薩立像均有頭
relation to bodies is discernable in each seated Buddha and standing 部和身體比例不衡的情況，與亞洲藝術博物館藏675年
attendant bodhisattva, suggesting the same childlike quality at the
end of Wu Zetian’s rule that we sense in Asian Art Museum Maitreya 彌勒佛佛像一般，蘊含天真的外貌特徵，反映出這表現
of 675. However a number of sculptures made shortly after her death 形式一直襲用至武則天統治後期。相反，武則天死後不
display a more mature and realistic human figure consistent with the 久的雕像則較趨成熟、合乎人體比例，和此大理石彌勒
spirit of this marble Maitreya fragment. 佛身像有異曲同工之妙。

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