北齊 鎏金銅觀世音菩薩立像

cast as Avalokitesvara standing barefoot on a circular tapering base with the right hand raised in abhayamudra and the left in varadamudra, the poised figure clad in flowing robes with a long shawl falling from the shoulders and draped around the arms, the facial expression rendered serene and benevolent, framed by long pendulous earlobes and an elaborate diadem crested with three florets, further adorned with a beaded necklace and a taselled cord gathered at the waist in a circlet and cascading near the hem of her robes, the reverse of the head with a loop for the attachment of a mandorla, the gilt-surface with malachite encrustation, affixed to a wood pedestal

仇焱之（1908-80年）收藏
倫敦蘇富比1980年12月16日，編號334

The figure is in good overall condition, and the gilding is very well preserved. Minor surface wear and bruises, and extensive malachite-green oxidisation to the surface, with insignificant loss of detail in places.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

北齊佛教藝術以石雕聞名，存世金銅造像寥若晨星，尺寸多小，可供養於家居佛龕。此件立像，不僅因尺寸大而珍稀，且描寫細緻精妙，栩栩如真，見證六世紀北齊佛教造像藝術之蓬勃與巔峰，源自北魏時期受印度傳統影響之風格，現已深深漢化。

觀世音立像體態纖長，足踏圓墊，飄帶柔拂，華冠珠絡，鎏金厚實，展現觀世音慈悲為懷，傾聽救贖苦難眾生之神髓。

比較一尊類同北齊鎏金銅菩薩造像，尺寸更大（28.1公分），為熱海博物館收藏，刊錄於 Hugo Munsterberg，《Chinese Buddhist Bronzes》，東京，1967年，圖45。並參考山東博物館藏一件大型鎏金菩薩像，64公分高，帶背光及蓮座，出自濰坊，展出於《中国国寶展》，東京國立博物館，東京，2004年，圖107，立像姿態、手印及瓔珞細節，均與此件拍品相似，而此像已佚失的背光與蓮座，亦應與山東博物館之例相若，光華奪目，華麗繁複，間綴鏤雕花卉。另一件北周時期菩薩像，藏於東京藝術大學，同刊載於 Munsterberg，前述出處，圖46a、46b。

類同此像之北齊造像，罕現於拍賣會，參考一尊較常見之鎏金銅菩薩像， 紀年547，2007年9月17日售於紐約佳士得，編號184，還有一件 Albright-Knox Art Gallery 舊藏鎏金彌勒菩薩像，2007年3月19/20日售於紐約蘇富比，編號725。

北齊砂岩雕觀世音菩薩像，可參考同為不言堂舊藏一像，紀年576，錄於 Osvald Sirén，《Chinese Sculpture from the Fifth to the Fourteenth Century》，倫敦，1925年，圖版230A、230B，及松原三郎，《中国佛教彫刻史研究》，東京，1966年，圖版164a-c，2013年10月8日售於香港蘇富比，編號139。此件石雕觀音立像造形與本拍品相近，無論站姿、衣褶、瓔珞、足部、及身軀微微前傾之姿，皆極為相似。康蕊君專文〈北齊造像典範〉，亦可用以理解此件鎏金銅菩薩立像：

「綜觀中國石雕藝術歷史，若論創思前瞻，別開生面，能與北齊相提並論的朝代，寥寥可數。」

「菩薩五官和均，面相婉柔，盡展北齊造像獨特之美。腰腹微微隆起，弧線流麗優雅，唯妙唯肖。寶冠瓔珞華而不縟，恰到好處，端莊肅穆。」