佛像鉴定鉴赏收藏

尺寸：H. 5 3/8 in. (13.7 cm); W. 2 3/4 in. (7 cm); D. 2 1/2 in. (6.4 cm)
年代：清代 17世纪
质地：檀木 木雕彩绘鎏金
风格：中原
来源：纽约大都会博物馆
参阅：外部链接
鉴赏：
这尊明代彩绘木雕–“送子观音”，俗称“送子娘娘”，是一个怀抱男童的中年妇女形象。她头戴风帽，发髻高挽，面如满月，慈眉善目，显得安然恬静、慈悲仁爱。右手揽童，左臂置胸前（左手已失）。身披袈裟，衣衫自然流畅下垂，赤足呈游戏姿坐于岩石之上。

此雕像的看点在怀抱的童子，该童子偎依在观音怀中，左手捧卷，右手指经，头部左倾，眼望上方观音菩萨似在请教着什么。童子双腿随意伸屈，小脚穿着蓝色小鞋，很是自在惬意的模样。观音菩萨慈悲庄严，显现的是朴实善良的慈母形象。此雕像将观音菩萨从天上请到了世间，一下子拉近了观音菩萨与信众中的距离。法华经观世音菩萨普门品中有说；观世音菩萨，以种种形游诸国土，度脱众生。

Guanyin the Bringer of Sons

Sandalwood with traces of pigment and gilding

The most precious treasure in premodern China was a son to carry on the family legacy. Reflecting this fervently held wish, a new form of Guanyin emerged that presented the bodhisattva as a bestower of sons. This intimate sculpture, in which Guanyin cradles the hoped-for baby boy, would have been made for personal veneration by a wealthy devotee who wished to become a mother. Note that the precocious child holds a book—a sign that he will become a great scholar and thereby advance the family’s standing.