登录
With rich, dark patina, The gently smiling standing Buddha with an openwork flame-rimmed nimbus, right hand in Vitarka mudra, the other gracefully holding the end of his robe.
PROVENANCE:
Property formerly in a Main Line, Philadelphia, private collection
NOTE:
Ultimately based on Pala period bronzes of East India, the present figure, with its openwork nimbus, encircled by small serpentine flames, the full face of the Buddha, with swelling lower lip and broad nose and forehead, and the simple symmetry of the solid body and long robes all suggest an origin in the Srivijayan sphere of influence, possibly the island of Java. Compare the figure of Avalokiteshvara with openwork halo illustrated in M. C. Subhadradis Diskul, "The Art of Srivijaya", Oxford, 1980, pl. 10; compare also the Avalokiteshvara with similar flame treatment to the present work, in the Bangkok Museum, ibid, Pl. 24. Compare also the seated Javanese figures illustrated in Jan Fontein et al, "Ancient Indonesian Art of the Central and East Javanese Period", New York, 1971, pp. 70-72, nos. 29, 34, 32.
拍品：
費城Main Line私人舊藏
註：
是件拍品相類於東印度帕拉王朝時期，是樽造像鏤空的法輪火焰環繞，佛像莊嚴，飽滿的嘴唇，寬闊的鼻子和額頭，對稱的身體構造及長袍都顯示了室利佛逝之影響，可能為爪哇島。對比一例M. C. Subhadradis Diskul所論述的鏤空聖觀世音造像，於書, "The Art of Srivijaya"，牛津，1980年，版10，對比另一例相似火焰造型的聖觀世音於曼谷博物館，版24，對比一例爪哇造像於Jan Fontein著作"Ancient Indonesian Art of the Central and East Javanese Period",紐約，1971年，頁70-72，nos29,34,32
