北魏 砂岩石雕坐佛

carved seated in dhyanasana on a rectangular base, his hands held in dhyanamudra, wearing a plain monastic robe draped over his left shoulder leaving the torso bare and falling in even and crisps folds over his left arm and knees, the end of a long sash laid over his right ankle, his face bearing a benevolent expression with bow-shaped eyes and a plump mouth below a broad nose, all framed by long pendulous earlobes and smooth hair covering the ushnisha, all against a pointed mandorla edged with flames and framed by a border of dhyani Buddhas seated in alcoves carved in relief around the central halo, the plain rectangular base with an incised line border, the stone of pale reddish-grey colour

購於五十至六十年代

The piece were probably positioned originally in an architectural niche. The rear left corner of the base has been truncated when the piece was removed. Its present overall condition is in keeping with age with expected pitting and weathering to the stone as visible on the photo. There appear to be no recent damages or restorations.
"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.
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此造像作線刻風格，屬現知北魏最早期之造像。五世紀中期，佛教造像常作線刻紋飾背光，且常造個別石雕佛像以供祭拜。參考 Angela Falco Howard，〈From Han to the Southern Song〉，錄於 Angela Falco Howard 等，《Chinese Sculpture》，紐黑文及倫敦，2006年，頁230，可見更多關於北魏石雕藝術之發展歷史。

一件類同造像，紀年延興二年（472），屬紐約哲敬堂收藏，展出於《中國古代石雕藝術》，國立歷史博物館，台北，1983年，頁90-1，編號1，此處提及此類造像，盛行於五世紀下半葉。亦參考一尊年代略早之坐佛，造型更為簡素，佛面類同現例，展於《佛雕之美：北朝佛教石雕藝術》，國立歷史博物館，台北，1997年，編號1。