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his finely-cast depiction of the bodhisattva Avalokiteshvara, demonstrates the movement
from the stylized volumes of the Sui dynasty towards the fully rounded fleshy form of the
TTang period. The figure is notable for its early adaption of the dynamic sinuous posture,
with the contrapostto thrust of the hips, and elegant proportions, which continued to develop during the
Tang dynasty.
Representations of Avalokiteshvara during the Sui and Tang periods frequently depict the bodhisattva
adorned in princely jewels and a crown, bearing a ‘pure water vessel’, believed to heal or bestow
immortality upon worshippers, in one hand; and a willow branch, also representative of healing, in the
other.
Compare a similar Sui dynasty figure of Avalokiteshvara illustrated in Matsubara Saburō, Chinese
Buddhist Sculpture. A Study Based on Bronze and Stone Statues other than Works from Cave Temples,
Tokyo, 1966, pl. 293. Two other examples attributed to a mature Sui style include one dated 595 in the
British Museum, London, and another in the collection of Mr. Hosokawa, Tokyo, both illustrated in Hugo
Munsterberg, Chinese Buddhist Bronzes, Tokyo, 1967, pls 49 and 50.
此尊觀音菩薩金姿寶相鑄造精良，雖依隋代經典之 可比一相類隋代觀音像，載松原三郎，《中国仏教
制，然趨唐代豐腴之韻。身形婀娜，體態俊雅，如是 彫刻史研究：特に金銅仏及び石窟造像以外の石仏
造型早在此像已見濫觴，後至唐代愈加發展。 についての論考》，東京，1966年，圖版293。另
有二例，傳乃隋代成熟期風格，其一，紀595年，倫
隋唐所塑觀音形象多具貴冑氣概，佩寶珠，戴華冠， 敦大英博物館蓄，其二，東京細川氏藏，均錄 Hugo
一手托淨瓶，為信眾調苦解厄，綿延福壽，一手持楊 Munsterberg，《Chinese Buddhist Bronzes》，
柳，亦有除病祛痛之效。 東京，1967年，圖版49及50。
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