般若珞珈

南亞東南亞造像藝術(shù)專欄

南渚山房 劉冬

東南亞古代造像獨(dú)立研究者

《南渚志》紀(jì)錄片制片人
《Southeast asia buddhist art sumatra&java suculptre 2022》

東南亞佛像蘇門答臘與爪哇雕塑，作者
黃巖博物館《造像萬千》
臺(tái)州博物館《金木薈萃》策展人
資深服飾配飾設(shè)計(jì)師
德國紅點(diǎn)設(shè)計(jì)獎(jiǎng)獲得者

Avalokitesvara Bodhisattva

Avalokitesvara Bodhisattva

Sitting Statue

Central Java

觀世音菩薩坐像;

中爪哇

（公元8-9世紀(jì)）

高32CM

此尊觀世音菩薩具有典型印度那爛陀風(fēng)格，屬于中爪哇地區(qū)受那爛陀風(fēng)格影響的作品。但體量比一般的那爛陀要大不少，銅胎厚重，也是爪哇造像的一大特點(diǎn)，菩薩呈游戲坐姿，端坐于束腰多層疊澀寶座蓮臺(tái)之上，整體皮殼輕微銹蝕，局部如腿間，背光與蓮臺(tái)縫隙處，依然能看到姜黃粉供養(yǎng)的遺存，除背光下緣火焰紋局部殘缺，其余整體狀態(tài)完好；

菩薩身軀三折姿，神態(tài)俱足，發(fā)髻為典型婆羅門特點(diǎn)，正面端坐阿彌陀佛一尊，發(fā)辮垂肩，開臉俊美，額中白毫，雙目低垂，法像莊嚴(yán)，脖頸三道，肩膀挺闊，左手微曲支撐于蓮臺(tái)，執(zhí)蓮莖一支，蓮莖懸空兜轉(zhuǎn)，頂部一具經(jīng)匣；右手順勢置于膝蓋之上，結(jié)與愿印，手指結(jié)構(gòu)清晰，肩膀一條披帛沿軀體起伏有致，腰間系結(jié)，下身著干幔,跣足，此為東南亞地區(qū)所特有著裝，仰覆蓮臺(tái)下，亦生出一支蓮莖，承托菩薩右足，左足置于蓮臺(tái)上，身體曲線優(yōu)美，放松，可見工匠高超的造型技巧和對法像優(yōu)美的表達(dá)，非常嫻熟，臻于化境；

菩薩圓形背光，中間平面光潔，依次向外多層，炫紋，折疊紋，火焰紋，光輪，頂部菩提葉，傘蓋頂部寶瓶狀，傘蓋上旋紋兩圈，背部為插榫式樣可活動(dòng)拆卸；也有插榫樣式但一體鑄造的例子；同樣，此尊底座樣式在那爛陀造像也常見，蓮臺(tái)下一張掛毯垂于下方，金剛束腰寶座上仰覆蓮臺(tái)的形制亦有多種多樣；

南渚山房《Southeast asia buddhist art sumatra&java suculptre 2022》圖錄里115頁有輯錄本尊造像。

This Avalokitesvara Bodhisattva has a typical Indian Nalanda style, which is a work influenced by Nalanda style in Central Java. However, its size is much larger than that of Nalanda, and its copper body is thick and heavy, which is also a major feature of Java statues. The Bodhisattva sat in a playful posture on the multi tiered throne lotus platform, with its overall skin slightly rusted. Some parts are like legs. At the gap between the backlight and the lotus platform, you can still see the remains of ginger powder. Except for the partial incomplete flame pattern at the lower edge of the backlight, the rest are in good condition;

Bodhisattva's body is in a three fold posture, and his demeanor is full of feet. His hair is typical of Brahman. He sits on the front of Amitabha Buddha, with his hair braids hanging down his shoulders, a beautiful face, white hair in his forehead, eyes drooping, his dharma image is solemn, his neck is three lines, and his shoulders are wide. His left hand is slightly bent to support the lotus platform, holding a lotus stem, the lotus stem is hanging in the air, and there is a scripture box on the top; The right hand is placed on the knee, with a knot and a wish mark. The finger structure is clear. A piece of silk on the shoulder undulates along the body. The waist is tied, and the lower body is covered with a dry mantle. The feet are bare. This is a unique dress in Southeast Asia. The lotus stem is also born under the lotus platform, supporting the Buddha's right foot. The left foot is placed on the lotus platform. The body is graceful and relaxed. It can be seen that the craftsman's superb modeling skills and beautiful expression of dharma images are very skilled, Reaching the realm of transformation;

This Guanyin Bodhisattva has a round backlight, the middle plane is smooth and clean, with several layers outward in turn, dazzle pattern, fold pattern, flame pattern, halo, bodhi leaf on the top, bottle shape on the top of umbrella cover, two circles of spiral pattern on the umb。

東南亞古代造像藝術(shù)

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