Page 46 - Contenplating the Divie Buddhist Art Christies Hong Kong

fig. 3a Traces of original cut gold on the face of the current wood Guanyin fig. 3b Traces of original cut gold on the face of the current wood Guanyin
圖三 a 本觀音臉上原有的切金痕跡 圖三 b 本觀音臉上原有的切金痕跡

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how the sculptures were constructed and decorated. These programmes 藝，其頭、足、手俱用插合方式與軀幹組裝而成，
provide useful points of comparison. The figure in the Victoria and 右手、右足均有後來更換的木件。
Albert Museum was made of blocks of wood, jointed together. The wood
came from a Paulownia species, the “Foxglove Tree”. It is likely that the 拼合後的 V&A 觀音像塗有明膠，其上敷以高嶺
Bodhisattava under discussion here was constructed in a similar manner, 土質的石膏地，與佳士得觀音像的無色石膏地近
with his head, feet and hands being inserted into the torso. His right hand 似。然後，雕像表面再施多層顏料（如藍靛等植
and right foot contain replacement pieces of wood. 物類染料和礦物顏料），並添加一些傳神逼真的
細節，佳士得拍品清理後，在觀音唇邊發現的鬍
The V&A figure was then covered with a gesso ground of kaolin clay bound
with an animal glue; a similar colourless gesso layer was discovered on 髭便是一例。這些雕像原有的彩繪畫風自然，但
the Christie’s Bodhisattva. The surfaces were painted with several layers 明代修復時似刻意摹仿鎏金銅，致使其外觀徹底
of pigments, their hues obtained from vegetable dyes like indigo, and 改變。最終，這批作品於十九世紀末或二十世紀
mineral pigments. Expressive features were added, such as the delicate 初，再經歷了一次粗糙的裱糊修補。
hairs of beard and moustache that were revealed when the mouth area
of the Christie’s image was cleaned. The original, naturalistic painting 佳士得、V&A 及阿姆斯特丹美術館珍藏的三尊
of the figures appears to have changed completely during Ming dynasty 觀音，其重要裝飾特徵之一是原有衣飾的切金紋
restorations, when the images were made to look like gilt-bronze. Lastly, 樣。調查結果顯示，在較隱蔽的地方（如衣褶深
they suffered from crude paper-overlay repairs in the late nineteenth or 凹處），仍有這類精細紋飾的痕跡（圖三 a &
early twentieth century. b）。佛教雕像與繪畫常施金箔，使之看來更華
貴典雅，這一傳統至少可上溯至北齊（公元 550
One significant feature of decoration on all three Guanyin figures 至 577 年），就此可證諸山東青州出土文物 。
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(Christie’s, the Victoria and Albert Museum and the Rijksmuseum)
was the embellishment of the original robes with designs of cut gold 除了用作裝飾，黃金更是禮佛之物。故此，佛教
(fig. 3a & b). Investigation revealed the presence of this delicate patterning 藝術中的金銀飾，也是表現虔敬之心的載體。雕
in protected areas, such as the back of folds in garments. Gold-foil was 像貼金模仿的是金線刺繡或織物的印金花紋，其
applied on Buddhist sculptures and paintings in order to give them a 師法對象除了中國織繡品，也可能糅合了中亞和
precious appearance, and its origins go back at least to the Northern Qi 印度服裝的影響。
dynasty (550-577), as examples from excavations at Qingzhou in Shandong
province have shown. 3 貼金工藝難度極大。匠人須把三片金箔加熱黏
Gold itself was not seen as mere decoration, but as a gift to Buddha. Thus 合，以增加金箔的厚度和靭性，然後用一把鋒利
the decoration of Buddhist works of art with gold and silver was a way of 的竹刀，將之切成寬不過三毫米的箔絲，再用膠
expressing one’s piety and devotion. Gold-foil applications on sculptures 或漆黏貼在彩繪表面或石膏地上。箔絲形成的幾
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imitated gold-thread embroidery, or designs rendered in gold-foil imprints 何圖形，狀若提花絲織物的紋樣。 在佳士得觀
on textiles. They most likely copied not only Chinese textiles, but also 音像右背，隱約仍可看見一小塊施金綫的深紅紋
those influenced by Central Asian and Indian clothing. 飾。

42 Contemplating The Divine – Fine Buddhist Art 正觀自在 — 佛教藝術精品