佛像网

尺寸：81 x 83.8 cm
年代：元代
质地：干漆夹纻(Dry Lacquer | Gilded)
风格：中原
来源：宾夕法尼亚大学博物馆
参阅：外部链接
鉴赏：
Seated figure of Sakyamuni Buddha in meditation with chin leaning on his hands which are joined over the raised left knee. The other leg is bent horizontally in front of the figure. Sakyamuni is the honorific name for Siddhartha Gautama (563 - 483 BCE), also known as the historical Buddha. The Buddha's unusual smile offsets his austere demeanor. Crafted during the period of Mongolian rule in China, the facial features suggest connections with Nepalese Buddhism.

The use of dry lacquer was a time consuming process during which layers of clay, paper, lacquer, and cloth were applied to the figure. The drapery, with its free-flowing folds is uncommon for the time; it shows the natural folds of the cloth that was laid on the figure during the process. At one time, five woodblock printed and manuscript sutras, in Chinese and Tibetan, were inside the hollow figure (see C405 B-F, H). Perfumed ashes were also found which would have helped to protect the lacquer from worms. Additionally a small parcel containing five organs made of silver was present inside the statue but is now missing.

这尊美国宾西法尼亚大学博物馆珍藏的元代干漆夹纻释迦牟尼佛苦行像，是从国际著名的文物贩子、大古董商卢芹斋手中购买，购买后在佛像里还发现装藏有五本佛经。这尊元代干漆夹纻工艺制作的释迦牟尼佛坐像，表现的是六年苦行时的悉达多太子坐像；距今约有七百多年的历史。造像生动细腻，双目微垂，面相丰满圆润，表情祥和，衣纹褶皱自然写实，生动流畅。在表现释迦牟尼佛六年苦行像中，鲜有这样圆润安详，面露微笑的造像。此像历经沧桑，又飘洋过海，辗转多次的干漆夹纻工艺制作的佛像，虽然表面镀金层大部分出现裂纹，也有少部分出现脱落，但依然充满了无限的艺术魅力，因为干漆夹纻造像在佛教造像艺术史上占有非常重要的位置。

佛教造像不但是佛教的圣物，更是珍贵的艺术品。然而随着时间的流逝，一般木雕佛像易受到自然力的侵蚀，不可避免的会开裂，变形，褪色，不能永久的保持佛像的艺术魅力。干漆夹纻工艺是一项古老的手工技艺，它采用干漆，苎麻，五彩石粉等为原料，经过烘干，打磨，夹纻等48道工序完成。采用这种工艺制作佛像时，先做好一个工胎，作为一个木头大概雕塑的佛像，然后用麻，再刷漆，等到一定程度漆干后把木胎取出，使它完全成为一层空壳。纻是一种麻属科植物，即苎麻。唐释慧琳注《释迦方志》卷上， “夹纻”条，注云“按《方志》本义，夹纻者，脱空像漆布为之。”后世称干漆夹纻为“脱胎”或“脱沙”即脱胎漆器。经过干漆夹纻工艺的处理，佛像色彩鲜艳，呈现出一种光润亮泽的质感，并且不宜开裂，变形，能更好地保存佛像原本的神韵，细腻的纹路和流畅的衣纹。

干漆夹纻工艺史载东晋时期就已经被应用在佛教造像上，据说是大约公元300年由东晋著名的画家，雕塑家戴逵发明。延至北魏隋朝，到唐代佛教造像技术方面，唐代在上承北朝，隋代遗风的同时，继续吸收外来艺术，形成新的艺术风格，使佛教造像艺术达到历史上的最高水平。唐代干漆夹纻造像文献方面记载有如意元年(692年)武则天将嵩山少林寺普光佛堂神王像二躯改为夹纻像，安置宫中，天册万岁元年(695年)，武则天下令造夹纻大像。