A GILT COPPER ALLOY FIGURE OF BUDDHASRI LANKA, DIVIDED KINGDOMS PERIOD, 13TH/14TH CENTURY
20.4 cm (8 in.) high注脚Preserving an ancient iconographic tradition in Sri Lanka and South India, this delightful gilt bronze shows Buddha with his right hand raised in a variation of abhaya mudra, known as ashisha mudra, while his left holds the hem of his robe, which has a pronounced fold over the right shin. With a broad smile, tall flame finial, and swelled physique this figure may well be the most handsome and well-cast surviving sculpture of its scale and type. It compares favorably to the National Museum, Colombo and National Museum, Kandy's examples, two of which are also gilded (von Schroeder, Buddhist Sculptures of Sri Lanka, Hong Kong, 1990, pp.460-1, nos. 140G-I & 141A-C). Its closest counterpart is probably a figure in the Ashmolean Museum (2004.63), which is likely misattributed to 12th-century Nagapattinam, though artists and sculpture from this South Indian port had a sustained stylistic influence on the art of Sri Lanka.

Provenance
Collection of Drs. Edmund and Julie Lewis, Chicago


銅鎏金佛陀像
斯里蘭卡，十三或十四世紀
高20.4釐米（8英吋）

150,000-250,000港幣

承襲了斯里蘭卡與南印度古老的圖像傳統，這尊明快可人的鎏金像刻畫佛陀右手豎直舉起（手印梵文名為「Ashisha」），手型類似無畏印但稍有變化，同時左手握住長袍邊緣，長袍在右側小腿處形成一道明顯的褶皺。佛陀面掛微笑，頭頂智焰高聳，肌肉輪廓飽滿，或為此體量的同類作品中最俊美、最精緻的一尊。位於哥林堡的國立博物館以及康提國立博物館中均藏有十分接近的作品，其中兩件同樣為鎏金（參見馮·施羅德《Buddhist Sculptures of Sri Lanka》，香港，1990年，頁460-1，編號140G-I以及141A-C）。與其最接近的莫過於阿什莫林博物館所藏一件銅像，該銅像出自十二世紀之納加帕蒂南之判斷或許並不準確，儘管這個南印度港口城市的藝術家與造像對於斯里蘭卡藝術風格產生過持續影響。

來源
Edmund與Julie Lewis醫生珍藏，芝加哥