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This grand figure depicts the bodhisattva Avalokiteshvara 此尊觀世音菩薩立於蓮花座上,座下設八角臺,帔
(also known as Guanyin) standing atop a lotus blossom and 帛華貴,垂瀉而下,衣帶盤結,繞扣腰間。身姿纖
octagonal plinth. With a gentle lean in the waist, the slender 秀挺拔,頗顯隋代風範,而唐代所崇之曼麗體態亦
figure stands with an almost sensuous serenity, akin to the 初露端倪。六世紀末始造觀音像持楊柳枝,故而此
more fluid forms of the ensuing Tang dynasty. However, still 尊身份及年代得以印證。參考一隋代鎏金銅造像,
richly adorned with elaborate shawls and sashes, standing
tall in an erect yet graceful pose, the figure remains the very 紐約大都會藝術博物館藏,載於 Denise Patry Leidy 及
embodiment of the Sui sculptural style. Donna Strahan,《Wisdom Embodied: Chinese Buddhist
and Daoist Sculpture in the Metropolitan Museum of Art》
Compare a similar Sui dynasty figure of Guanyin preserved ,紐黑文,2010年,圖版12(圖一)。對比兩尊,
with an octagonal base in the Metropolitan Museum of
Art, New York, included in Denise Patry Leidy and Donna 皆泰然後仰,左胯斜挺,右手持枝,衣帶垂瀉,深
Strahan, Wisdom Embodied: Chinese Buddhist and Daoist 得隋代造像藝術之精髓。另對照一例,見 Rene-Yvon
Sculpture in the Metropolitan Museum of Art, New York, Lefevre d’Argencé 編,《Chinese, Korean and Japanese
2010, pl. 12, in which the authors identify the willow branch Sculpture in the Avery Brundage Collection》,舊金山亞
as an attribute of Avalokiteshvara that first emerged in the 洲藝術博物館,三藩市,1974年,編號67。另一隋代
late 6th century, perhaps associated with the Samadhi Rite 造像實例,屬三尊像組合,參見松原三郎,《中国仏
and traditional water offerings brought to the bodhisattva. 敎彫刻史論》,卷2,東京,1995年,圖版526。另有
Compare also a closely related sculpture illustrated in 現藏堪薩斯城納爾遜-阿特金斯藝術博物館者,同上
Rene-Yvon Lefevre d’Argencé, ed., Chinese, Korean and 述出處,圖版589。
Japanese Sculpture in the Avery Brundage Collection,
Asian Art Museum of San Francisco, 1974, cat. no. 67;
another Sui example, standing as part of a triad, in Saburō
Matsubara, Chūgoku Bukkyō chōkoku shiron [History of
Chinese Buddhist sculpture], vol. II, Tokyo, 1995, pl. 526;
and another now preserved in the Nelson-Atkins Museum
of Art, Kansas City, ibid., pl. 589.
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