十三至十四世紀 西藏中部銅錯銀及紅銅釋迦牟尼佛坐像

喜瑪拉雅藝術資源網編號68455

阿什莫林博物館，牛津，1996-2005年借展
《The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam Collection》，阿什莫林博物館，牛津，1999年10-12月
《Arte Buddhista Tibetana: Dei e Demoni dell’ Himalaya》，Palazzo Bricherasio，都靈，2004年6-9月
魯賓藝術博物館，紐約，2005-2017年借展
《Casting the Divine: Sculptures of the Nyingjei Lam Collection》，魯賓藝術博物館，紐約，2012-2013年
《Masterworks: Jewels of the Collection》， 魯賓藝術博物館，紐約，2016-2017年

David Weldon 及 Jane Casey Singer，《The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam Collection》，倫敦，1999年，圖版20
Franco Ricca，《Arte Buddhista Tibetana: Dei e Demoni dell’ Himalaya》，都靈，2004年，圖42

Good overall condition. With surface wear and areas of accretion and oxidation throughout. Scattered losses and cracking to polychrome and layers of cold gold. Original baseplate intact.
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釋迦牟尼佛坐像，宏碩優美，靜穆莊嚴，右手結觸地印，召喚四方地神見證降魔成道。

此像銅色古潤，佛面、頸泥金，髮髻加彩，對比強烈，反映早期東印度風格與紐瓦爾風格之間的轉變，後者接續盛行二百多年。

坐佛身形英挺飽滿，佛首比例幾與身軀同長，以佛面為視覺焦點。身披百衲袈裟，左肩交結，於交腳處聚結成褶，線條流麗自然。

泥金及彩料塗佛面（並或胸膛、手、足）屬西藏供養傳統，供養人多捐贈金粉予當地寺院，用以供佛。如同此像，常得供拜之作，表面常可見多層泥金，乃代代恭供而來。

此件釋迦牟尼佛坐像之眉眼風格，可比較西藏中部夏魯寺之佛像壁畫，見 Michael Henss，《The Cultural Monuments of Tibet》，慕尼黑，2014年，卷2，頁614，圖版888（圖一）。