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This figure effortlessly spans the aesthetic of the Sui and Tang dynasty, when a more naturalistic
approach to depictions of Buddhist deities was gradually adopted. After a long period of cultural and
military disunion, China was first unified under the Sui dynasty in 581, and in 618 the general Li Yuan
founded the Tang dynasty. The Tang is considered one of the most prosperous periods in Chinese
history, marked by economic and military expansions, successful diplomatic relations and a revolution
in the official examination system, which had a profound effect in the creation of a new social elite. Under
the Tang, the capital Chang’an became an international metropolis, which boasted some two million
inhabitants including a sizeable community of foreign residents.

From the early years of the dynasty, Buddhism was supported by the Imperial court, who actively
sponsored major building projects and encouraged monks to travel abroad and bring back sacred
scriptures. Emperess Wu Zetian (624-705) in particular, sponsored the building of several important
caves and the monumental sculptures of the Fengxian temple at Longmen. Empress Wu sought to
draw parallels between her Imperial court and the Buddhist hierarchy in an effort to impart a spiritual
significance to her rule. Sculptures of the period embody the new Tang style, and it is in this stylistic
context that this figure stands firmly. A keen observation of human anatomy and the natural world is
evident in the depiction of these figures’ facial features, the subtle movement of their bodies and natural
sway of their garments. Figures appear imbued with a physicality and sensitivity not present in their Sui
counterparts. This new style continued to evolve and by the 8th century, carvers made highly realistic
sculptures modeled with sensuous and muscular bodies.

A bodhisattva displaying a similar treatment of the robe and jewelry, in the Jinan dong cave at Longmen,
is illustrated in situ in Sekai bijutsu dai zenshei / New History of World Art Series, Tokyo, 1999, vol. 4, pl.
103; and two bodhisattva flanking a seated Buddha in the Wanfodong is illustrated in situ in Zhongguo
meishuq quanji. Diaosu bian [Complete collection of Chinese art, sculpture. Longmen stone sculpture],
vol. 11, Shanghai, 1988, pl. 140. A head fragment of a bodhisattva reputedly from Longmen, displaying
similar features, from the collection of C.K. Chan, is illustrated in Longmen liusan diaoxiang ji [Dispersed
Longmen sculptures], Shanghai, 1993, pl. 71.

由隋入唐，佛教造像風格更為自然寫實。此像承上啟 真。與隋代之抽象詮釋相較，更為細膩鮮活。此自然
下，體現隋唐審美之轉變。魏晉南北朝戰亂分裂長達 之風日盛，至八世紀時，佛像已極具逼真寫實之態，
三百餘年，至581年隋朝方一統南北，而後高祖李淵 體態肌理，面容身形，皆栩栩如生。
建立唐朝。唐代國力鼎盛，經濟、軍事、外交等方面
空前繁榮，科舉制度日漸完善，社會精英階層新貴崛 龍門石窟極南洞見一相類菩薩像，衣飾刻畫與本像風
起。都城長安百業興旺，規模宏大，聲名遠播，人口 格相似，錄於《世界美術大全集·東洋編 卷4：隋·
曾達兩百餘萬，異國來朝者眾多，皆樂於安居於此。 唐》，東京，1999 年，圖版103。亦可比較萬佛洞
菩薩像兩例，分列坐佛兩側，載於《中國美術全集·
唐代初期，宮廷尚佛，興建佛寺，鼓勵僧人西行取 雕塑編》，卷11，上海，1988年，圖版140。亦見
經。武則天尤重禮佛，御令開鑿石窟，於龍門奉先寺 一佛首殘像例，哲敬堂珍藏，特徵與本像相近，傳為
造大盧舍那像龕，意在借佛教之力鞏固皇權統治。此 龍門所出，刊於《龍門流散雕像集》，上海，1993
時佛教造像已見唐代新風，正如本像所見，樣貌更近 年，圖版71。
人形，身軀微側，體態自然，衣褶垂墜飄逸，靈動逼

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