佛像鉴定鉴赏收藏

尺寸：总高98.1 cm
年代：10世纪
质地：黄铜嵌银(Brass with silver and copper inlay)
风格：克什米尔
来源：克利夫兰艺术博物馆
参阅：外部链接
鉴赏：
底座上的藏文铭文表明，这尊佛像的主人是来自西藏西部的皇家僧侣Nagaraja, 他在振兴这一地区的佛教方面发挥了重要作用. 像这样的雕塑是后来西藏西部艺术传统的风格来源,该雕塑脸部的磨损表明, 它曾在克什米尔被供奉过, 然后被带到了西藏.

该造像身形健美苗条, 褶皱的披肩式长袍可以溯源于希腊罗马的雕塑风格，看起来像是人体上起伏的波浪. 沿着褶边的关节区域传达出一种从人物身上散发能量的感觉. 佛陀的表情是平静的，脸部嵌银和铜, 右手施无畏印, 代表他的说法可以让人免于一切恐惧.

–Artemis注

Description

The Tibetan inscription on the pedestal identifies the owner of this stunning image as Nagaraja, a royal monk from western Tibet who was instrumental in revitalizing Buddhism in this region. Sculptures like this were the stylistic source for subsequent artistic traditions in western Tibet. The wear on the sculpture's face indicates that it was actively worshipped in Kashmir for some time before it was brought to Tibet.

The slender athletic form of the body is clearly revealed. Vestiges of pleat lines that can be traced to the toga-like robes of Greco-Roman figurines—brought centuries earlier to the Indus River region—appear like stylized waves over the torso. The areas of articulation along the borders and hems convey a sense of energy emitting from the figure. His expression is serene, with silver and copper used to animate the face. His upraised right hand indicates that his teachings lead to the freedom from all fear.

Inscription

inscribed with the name of the monk who commissioned it: Lhatsun Nagaraja (active from c. 998 to 1026)

Citations

The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1966. Cleveland, OH: The Cleveland Museum of Art, 1966. Reproduced: p. 232 archive.org

Stechow, Wolfgang. “Cleveland's Golden Anniversary Acquisitions.” Artnews 65, no. 5 (September 1966): 30-64. Reproduced: p. 35; Mentioned: p. 63-64

The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1969. Cleveland, OH: The Cleveland Museum of Art, 1969. Reproduced: p. 232 archive.org

The Cleveland Museum of Art. Handbook of the Cleveland Museum of Art/1978. Cleveland, OH: The Cleveland Museum of Art, 1978. Reproduced: p. 294 archive.org

Klimburg-Salter, Deborah E., and Maximilian Klimburg. The Silk Route and the Diamond Path: Esoteric Buddhist Art on the Trans-Himalayan Trade Routes. Los Angeles, Calif: Published under the sponsorship of the UCLA Art Council, 1982. Reproduced: p. 103, pl. 27

Wang, Michelle C. Maṇḍalas in the Making: The Visual Culture of Esoteric Buddhism at Dunhuang. Leiden; Boston: Brill, 2018. Reproduced: p. 77, fig. 24

Exhibition history

Object in Focus: Toward a Definition of an Early “Western Tibetan” Style. The Cleveland Museum of Art (organizer) (April 24-June 24, 2001).

Arts of Kashmir. The Asia Society Museum, New York, NY (organizer) (October 3, 2007-January 6, 2008).

Streams and Mountains Without End: Asian Art and the Legacy of Sherman E. Lee at the Cleveland Museum of Art. The Cleveland Museum of Art, Cleveland, OH (organizer) (June 27-August 23, 2009).