Page 134 - Sotheby's Junkunc Collection March 2019

his finely cast figure exemplifies a crucial sculptural transition from the linear and more
structured depiction of the deity in the Sui dynasty to the fully rounded, fleshy forms of the
TTang. The figure’s contemplative expression, swelling torso and its crisp casting, as seen in
the modeling of the flaming mandorla, are remarkable. Small bronze figures of Buddha and bodhisattvas
were made in China from as early as the 5th century AD, albeit in small numbers. These sculptures were
intended for personal devotion, often placed in small altars and shrines in the homes of devotees, and
played an essential role in the spread of Buddhism and its icons.

While no closely related example appears to have been published, this piece shares similarities with
a number of bronze votive figures from the early Tang dynasty: a bronze figure of Buddha seated with
crossed legs exhibiting similar facial and physical traits, in the National Palace Museum, Taipei, was
included in the Museum’s exhibition The Crucible of Compassion and Wisdom, Taipei, 1987, cat. no. 80,
together with a related figure of a bodhisattva, cat. no. 79; a bronze seated bodhisattva that displays a
similar rendering of the flames on the mandorla, is illustrated in Sen-Oku Hakuko Kan, Kondo Butsu [Gilt
Bronze Sculptures], Tokyo, 2004, pl. 27. Compare also two figures attributed to the Sui dynasty, in the
National Palace Museum, Taipei, included in the Museum’s exhibition The Casting of Religion. A Special
Exhibition of Mr Peng Kai-dong’s Donation, Taipei, 2004, cat. nos 122 and 123, the latter cast with a
similarly draped robe.

It is interesting to note that figures of this type are often depicted standing on rectangular platforms with
shaped cartouches. These simulate raised wooden platforms that were commonly used in the period. A
wooden go game board featuring similar cartouches and attributed to the Tang dynasty, was excavated
in Turpan, Xinjiang, and illustrated Tianshan gudao dongxi feng [Ancient roads of Mount Tianshan. The
meeting of East and West], Beijing, 2002, pl. 206.

隋代造像倚重線條、結構，而至唐代則趨豐腴，此尊 一相類菩薩像，編號79；另一青銅菩薩坐像，背光
坐像鑄造精雅，堪稱隋唐之交風格演變之典範。神情 熛焰之刻畫與此尊相若，錄泉屋博古館，《金銅仏》
端凝，身量圓實，且鑄工爽利，於模鑄焰狀背光可見 ，東京，2004年，圖版27。仍比兩尊，傳為隋代，
一斑，皆謂逸群。早至公元五世紀，中土便造青銅小 藏國立故宮博物院，展於該院《法象威儀：彭楷棟先
像以塑佛及菩薩，然產量甚少。此類造像乃供私人奉 生捐贈文物特展》，台北，2004年，編號122及123
持，多由供養人在家宅內設龕而置，於弘揚佛教及其 ，後者衣袍垂洩，亦類此尊。
形象亦功不可沒。
此類造像多立於長方臺座，座下透空，乃仿其時風行
雖無相近類例見諸刊載，然此尊實與初唐若干青銅造 之木臺座形制。可見一木製棋案，透空與此像底座相
像頗有相似；比一青銅佛坐像，足結跏趺，面容、體 類，傳為唐代，新疆吐魯番出土，載《天山·古道·
態皆與此尊相仿，國立故宮博物院寶蓄，展於該院《 東西風》，北京，2002年，圖版206。
金銅佛造像特展》，台北，1987年，編號80，旁有

132 JUNKUNC: ARTS OF ANCIENT CHINA