Description:

隋 铜鎏金弥勒佛垂幔莲台造像
主尊弥勒佛发髻高隆、清俊秀美,风神飘逸,神态宁静安详,法相慈悲庄严。身着僧衹支,右手当胸施无畏印,左手施与愿印,安坐于莲座台之上。背有透雕光圈火焰纹舟形光背,光背上缘莲座菩萨帔帛交叉飘逸,后排中央另榫卯接出七佛,代表着释迦牟尼佛在成佛之前的六位佛,加上释迦牟尼佛。释尊坐于须弥座上,下承四足双层长方座,方座朴素无纹,具有明显的时代特征。整尊造像比例精准,青铜铸造,通体鎏金,主尊及背光保存完整。七佛造像始于阿育王时代的山奇大塔上,当时是以并排的七株菩提树或七个塔来表示,犍陀罗艺术中有完整的七佛并排站立。在魏晋南北朝时期的七佛题材常出现于佛寺和石窟造像之中,且多传承了犍陀罗式之风格。至隋代开始出现此类铜鎏金台座形塑像,而整体造型更加和谐规律,内容更加丰富,极有时代风貌,为隋朝的佛像精品,十分罕见。(参考波士顿美术馆弥勒佛祭坛美国纽约大都会博物馆收藏的北魏弥勒佛造像)
Sui Dynasty, A Gilt Bronze Altarpiece Dedicated to Buddha Maitreya
A free-standing piece with drapery, extending stalks branching in an arch form, with a Buddha sitting atop of the lotus throne, there are altogether seven of them. Seven Buddhas began on the Great Tower of Ashoka, side by side with seven linden or seven towers. In the Northern Wei Dynasty and the Liao and Jin Dynasties seven Buddha statues were very popular at the time and this altar piece reflects the period’s distinct character. The central Maitreya is finely cast and shown seated in dhyanasana with left foot projecting from the hem of the loosely draped folds of the robe. The hands are held in karanamudra, with the right hand raised and the left resting on the left knee. The robes fall in curved diagonal folds exposing the left shoulder and left arm. The face has well-defined, arched brows above elongated, almond-shaped eyes and is framed by the pierced, pendulous ear lobes and the neat edge of the hair, which is arranged in tight curls that continue onto the low domed ushnisha. Flanked on each side with a Bodhisattva above the drapery. Complete with a flame-shaped aureole, seated on a lotus throne atop a two-tiered openwork plinth. Compare to similar one at the Boston Museum of Fine Art Bronze Dedicatory Group of Buddha Amitabha surrounded by attendants and the one at Met Museum Northern Wei, A Rare Gilt Bronze Altarpiece Dedicated to Buddha Maitreya.

    Dimensions:
  • Height: 18⅜ in (46.7 cm)

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