佛像网

尺寸：16.5 cm x 7 x 3.5 cm
年代：十六国时期(4世纪晚期-5世纪初期)
质地：青铜鎏金 piece-mold cast
风格：中原
来源：纽约大都会博物馆
参阅：外部链接
鉴赏：
这是中国最早的金铜佛像之一!

十六國時代 鎏金青銅釋迦牟尼佛坐像

Representations of the Buddha wearing a thick shawl over both shoulders and sitting atop a throne with lions on either side are Chinese adaptations of images derived from the northwest region of the Indian subcontinent, particularly from areas in present-day Pakistan (known as Gandhara in the ancient world). Scientific examination of this sculpture has shown that it was cast using several ceramic molds, a technique that was also used to create the ancient bronze ritual vessels on view in this gallery. By the fifth century, the lost-wax method, which may have been introduced with Buddhism, was used more often for the casting of Chinese sculptures.

来源:
Frederick M. Mayer , New York (until 1974; to Christie, Manson & Woods); Mayer sale, Christie's, Manson & Woods Ltd. , June 24–5, lot 141; to Eskenazi; [ Eskenazi Ltd. , London, 1974; sold to MMA]

展览:
New York. China House. “Small Sculpture: Shang through Song Dynasties,” February 19, 1954–April 17, 1954.

Newark Museum. “Art in Buddhism,” January 28, 1958–April 17, 1958.

Seoul. National Museum of Korea. “Masterpieces of Early Buddhist Sculpture,” September 24, 2015–November 15, 2015.

著录:
A. D. Brankston. “Yüeh Ware of the 'Nine Rocks' Kiln.” The Burlington Magazine for Connoisseurs 73, no. 429 (December 1938). pp. 257–62, cat. no. 73, pl. 2C.

Art in Buddhism. Exh. cat. Newark: Newark Museum, 1958, cat. no. 12.

Roberts, Laurance. Treasures from the Metropolitan Museum of Art. Exh. cat. New York: China Institute in America, 1979, p. 26, cat. no. 16.

Marylin M. Rhie. Early Buddhist Art of China and Central Asia: The Eastern Chin and Sixteen Kingdoms Period in China and Tumshuk, Kucha and Karashahr in Central China. Handbook of Oriental Studies, China (Handbuch der Orientalistik. Vierte Abteilung, China). Leiden: Brill, 2002, vol. 2, pp. 448–451, pls. IX, 276a–e.

Behrendt, Kurt. How to Read Buddhist Art. New York: The Metropolitan Museum of Art, 2019, pp. 40–41, fig. 21.