佛像网

尺寸：高54 cm，重20 kg\
年代：2-3世纪
质地：石雕
风格：犍陀罗
来源：伦敦大英博物馆
参阅：外部链接
鉴赏：
坐姿菩萨像，左手持莲花。 上衣（uttarīya）采用紧身披着方式，衣褶在腿间高浮雕式地盘绕，几乎与身体成直角；左臂处，肘部的布料较厚，虽已残缺，但可能原与臂后或腿部布料相连。下裙（paridhāna）于身前形成弯曲的衣端。

菩萨头部呈椭圆形，略带不对称；眉眼细长，眉弓呈圆棱状。上唇、嘴、下巴及细鼻的雕刻较为粗率，整体略显偏斜——尤其是下巴明显向右偏。白毫（ūrṇā）位置偏高且未居正中。头巾装饰有扁平束带，其间饰有珠纹与波状纹，两侧各从莲花花苞中伸出，围绕一颗中央大圆珠；头巾两侧各有一朵大花饰，连接贯穿头顶的珠串，珠串自前方梨形饰垂下，覆于冠饰之后。头后及两侧各有一竖向环扣，束带下方垂有褶布。耳下垂狮首耳饰，狮口衔短珠串。

菩萨上身塑造出明显的胸乳、乳头、肚脐及微隆的腹部，身躯略微向右扭转，尤以下半身为甚。右上臂尚存小柱，原应连接前臂。双足裸露，足趾呈细长圆柱形，趾甲简略。

颈圈镶有宝石，正中为花卉纹，两侧饰尖叶形宝石。长项链为多股串珠，中间饰有大圆柱形珠，两端饰莲花苞。珠串样式与前一件作品相似，自右肩绕下，双股编绳间隔绑扎，悬挂半月形护符及两个圆柱形小盒，盒身嵌长条形饰物，两端镶饰或加套。左手腕戴双镯，右臂处尚存两圈臂钏残迹。

菩萨手中所持莲花，花心显著，雄蕊分明，花瓣为双重勾勒、中央带槽，沿细长花茎向外伸展，花茎以拇指与食指轻持，弯入掌中。

菩萨结跏趺坐于莲台之上，莲台饰雄蕊及三重下覆花瓣，花瓣中央带槽，轮廓双重勾勒。莲台下方两侧各跪一僧人，右肩袒露，双手合十，存留的头部可见眼珠圆凸，双耳外张。

Seated Bodhisattva with a lotus in his left hand. The uttarīya is worn in the narrow mode, looping in the lap in high relief almost at right angles to the body; on the left arm the thicker fabric at the elbow is incomplete but may have continued onto the back of the arm or leg. The paridhāna forms curved ends in front.
The oval head is asymmetrical with long and narrow eyes under edges of rounded section for eyebrows; the crudely shaped upper lip, mouth, chin and thin nose are out of true, the chin especially pointing to the right; the ūrṇā is high and off-centre in the forehead. The turban has flat retaining bands with beaded and undulating motifs in between emerging on each side from a lotus cup beside a large globular central bead, and on both sides a large flanking rosette connects strings of beads crossing the head behind a large crest and falling from the piriform ornament in front. To the back and at each side is a vertical loop and a pleated end of cloth below emerging from under the bands, and from the ears hang lion protome earrings with short strings of beads falling from their mouths.
The torso, modelled with raised breasts and nipples, navel and slightly raised abdomen, turns, especially lower down, to the right. On the upper right arm are remains of the strut for the forearm. The toes of the bare feet are long and cylindrical with summary nails. The collar is set with stones forming a central flower flanked by stones of pointed leaf shape; the long chain necklace of multiple strands has a large cylindrical bead between lotus-cup terminals; strings of beads, connected as on the preceding piece, loop over the right shoulder and a double cord, bound at intervals, carries a crescentic amulet and two cylindrical boxes with oblong strips of inlay and mounted or capped at each end. On the left wrist is a double bracelet and two bands survive from the right armlet.
The lotus held by the Bodhisattva has a prominent gynoecium, and the stamens and a double row of double-outlined centrally grooved petals point away from it along the thin stalk which, held between his index finger and thumb, curves into the palm. The Bodhisattva sits on a lotus with stamens and three rows of centrally grooved petals with double outline pointing downwards. At the bottom, on each side, is a kneeling monk with bare right shoulder, hands joined and, on the surviving head, globular eyes and projecting ears.

发现地:Takht-i-Bahi, 巴基斯坦

Zwalf 1996:
这或许是一尊右倾的莲花手菩萨像，其右手（可能还有食指）原本抬起指向头部——此姿态如今通常被称为“思惟菩萨”。“莲花手”（Padmāpari）这一称谓描述的是观世音菩萨的一种化身，在后来的图像学中被称为莲花手，而这类形象的早期造像如今也常被认定为该菩萨。除了浮雕实例外，一些结禅定印的坐姿、戴头巾的独立造像，或悬垂莲花，或以手持莲茎（如此尊造像所示），皆属此类。

Zwalf 1996:
Perhaps this is a Padmapani Bodhisattva turned to his right and with right hand and possibly index finger originally raised to the head; this is the type now commonly called the pensive Bodhisattva. The epithet Padmapani (‘lotus-in-hand’) describes a form of Avalokiteśvara who is called Padmapani in later iconography, and early examples of such figures are now often taken to be this bodhisattva. Besides instances on reliefs, separate images of seated and turbaned figures with the hands in meditation may have a lotus pendent from them or, in other postures, hold a lotus by its stalk in one hand, as in this particular piece.

著录:
Zwalf 1996 / A Catalogue of the Gandhara Sculpture in the British Museum (79)

展览:
2010 Aug 4 – Nov 15, China, Shanghai Museum, ‘India: The Art of the Temple’
2015 24 Sept-15 Nov, Seoul, National Museum of Korea, Masterpieces of Early Buddhist Scultpure

品相:
浅灰色片岩，断裂，表面有厚重土锈结壳。
身光部分残缺；右前臂缺失处旁侧衣纹受损；底部大致平整。
背部有水平凿痕。

来源：
Purchased from: Mrs Mary E Hammond, 1950年