Lot 0416

Gilt-Lacquered Wood Sakyamuni, Early Ming Dynasty

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Gilt-Lacquered Wood Sakyamuni, Early Ming Dynasty

Item Details

Description

416 明早期木雕漆金釋迦牟尼佛坐像
H99cm
來源：歐洲私人收藏
德國納高 2013 年 5 月 10 日編號 295
釋迦牟尼佛木胎漆金彩繪雕成，頭頂滿罩螺髮，肉髻微微隆起，雙耳下垂，寬額豐頤，眉眼微彎，慈顏垂視，靜美的臉龐顯出淺淺微笑，神態清淨沉穩，溫和端詳，呈「寂靜相」，予人平和安穩之感。身披佛衣，衣紋柔軟層疊有致，右胸及右臂袒露，下身著高束腰僧裙，衣褶隨形體起伏，線條流暢自然。身軀端正，胸膛厚實，雙手交疊置腹前結禪定印，下半身雙腳交足，全跏趺坐，營造出祥和安然端坐於禪境之態。今美國大都會藝術博物館庋藏明永樂〈漆金木雕坐佛像〉，其披佛衣，臂膀渾圓，身袒胸厚實及裝藏的造像風格，與本件造像極為相似，可作比對參考。另頂肉髻形式及體態略顯折腰曲線的造像風格，參考列證如美國大都會藝術博物館庋藏金〈木雕釋迦牟尼像〉及首都博物館庋藏明〈釋迦、多寶二佛並坐像〉，皆為交融漢藏佛教造像藝術的典型表現。
木雕佛像是古代佛教造像的重要組成部分，據唐代張彥遠《歷代名畫記》記載，東晉名士戴逵曾耗時三年，為會稽山靈寶寺以整棵樹木雕成一尊一丈六尺的木無量壽佛像。然由於木器易腐朽，不易保存，能留存至今的早期木雕佛像屈指可數。唐代佛造像著錄僅見一例，為美國大都會藝術博物館庋藏唐〈彩繪塗金夾紵漆阿彌陀佛像〉。其受印度造像影響，佛作螺髻，面形豐圓，肌肉飽滿，體魄雄健，衣質輕薄透體，顯示不凡氣質與藝術魅力；到宋代，藝術手法以寫實為主，表現現實生活中人、物真實特徵，手法已完全脫離外來模式，呈現出鮮明的民族特性和世俗社會審美情趣，使木雕佛像更加典雅樸實，衍生出各具雅趣的佛造像藝術；而元明時期，因藏傳佛教的興起影響漢地，將漢式衣裝和審美趣味融以西藏系佛像的準確比例、寫實技法及木雕加描金、彩繪的藝術手法，使明代初中期佛造像又呈現出繁榮局面。
在十至十四世紀間，許多中國北方寺院幅員廣大，建築華麗，庭園錯落，宛若宮殿，殿中供奉之大型彩繪造像乃以樟木、杉木等為主要材料，且尤以宗教中心太原、五台山最盛。其中又以觀音像最為常見，釋迦牟尼佛較少見，博物館例證僅見美國大都會藝術博物館庋藏明永樂〈漆金木雕坐佛像〉、金〈木雕釋迦牟尼像〉。而用朱金裝飾手法在明初已於宮廷中運用，工藝繁複，富麗堂皇，觀者得以一窺明代中國佛教造像藝術發展之輝煌成就。
釋迦牟尼意為釋迦族姓的牟尼寶，或意為釋迦族姓的聖人，是佛教的創始人。據佛教典籍記載，其本為古印度迦毗羅衛國的太子，父親名淨飯王，母親名摩耶夫人，捨棄世間榮華富貴而出家修道成佛，一生致力於佛教事業發展，被後人稱為佛教始祖，尊稱為釋迦牟尼。成佛後的釋迦牟尼，尊稱為佛陀，意為徹悟宇宙人生真相者。從明朝開始，漢地尊稱其為如來佛祖或佛祖，或簡化合稱如來佛。本尊釋迦牟尼佛尺寸碩大，姿態自然如生，雕刻技術純熟，製作考究，木胎外罩朱漆，再於其上髹金漆，工藝精湛。造像整體端莊，姿態優雅，尊貴超凡，時過千載，仍大部份保留有朱漆，釋尊左袖與下襬衣褶部分可見朱金殘跡，朱漆金彩相綴，金碧輝煌，具引人入勝的美學魅力，契合明代皇家品味。
預估價：
TWD 1,200,000-1,300,000
RMB 272,700-295,500

A Gilt-Lacquered Wood Figure of Sakyamuni
Early Ming Dynasty
H99cm

PROVENANCE:
A private European collection
Nagel Germany, 10 May 2013, lot 295

Yu Jen Taipei Auction
[Lot 416] Estimates: TWD 1,200,000-1,300,000

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