七世紀 喀什米爾銅錯銀釋迦牟尼佛坐像

cast seated in vajraparyankasana on a lotus disc with a band of filaments and pendent lotus petal lappets, dressed in loose robes draped over the left shoulder and leaving the chest bare, the hands held in dharmacakra mudra, the serene face depicted with downcast eyes beneath elongated arched brows and an urna, the eyes and urna inlaid with silver, flanked by a pair of pierced pendulous earlobes, the hair tightly knotted and surmounted by an ushnisha, all supported on a rectangular plinth with a constricted band, the patina a lustrous golden-brown colour

Samuel Eilenberg 教授（1913-98）收藏
Simon Digby（1932-2010）收藏
John Siudmak Asian Art，紐約，2011年3月

《Indian and Himalayan sculpture and thankas from the collection of the late Simon Digby》，John Siudmak Asian Art，紐約，2011年，編號15

Ulrich von Schroeder，《Indo-Tibetan Bronzes》，香港，1981年，圖版14G
John Siudmak，《The Hindu-Buddhist Sculpture of Ancient Kashmir and its Influences》，萊頓及波士頓，2013年，頁274，圖版125

The figure has been preserved in very good condition. The original casting flaws and spacers are clearly visible in the catalogue photos, as are insignificant surface wear. The patina is particularly smooth and lustrous, a slightly richer and darker colour than in the photos.
"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."

初為 Samuel Eilenberg 博士出版這銅錯銀釋迦牟尼佛坐像時，Ulrich von Schroeder 將此像斷代九世紀。隨著西藏佛寺藏帶銘喀什米爾銅像之重要發現，過去二十年學界重新審視對喀什米爾造像的研究，據所得成果推斷，此像之年代應可上推至七世紀。此尊乃少數存世喀什米爾羯迦吒迦王朝（600-855）初期釋迦牟尼佛像，極罕。此類佛像，全跏趺坐，雙手結說法印，例可見維吉尼亞美術館藏佛像，約製於650-670年，收錄於 John Siudmak，《The Hindu-Buddhist Sculpture of Ancient Kashmir and its Influences》，萊頓及波士頓，2013年，頁269，圖版122。其薄衣貼體、波紋隱約，肩上袈裟密摺，臉容、髮線、耳垂，甚或底座之典雅束腰，種種皆與此同，可作比對。

此像雙手結說法印，寄念釋迦牟尼佛鹿野苑初轉法輪，為眾說法。喀什米爾初期造像，以雙手結說法印者與右手施無畏印之立佛兩種最為普及。如此銅像上所見之喀什米爾典型塑像風格，對爾後十一世紀藏西藝術影響良多。十一世紀吐蕃王族僧人那嘎拉咱收藏中，除藏西佛像，有眾多喀什米爾銅像，可見其隨佛教傳入西藏，為人所珍。如此佛像上之雙目若杏、飾嵌如銀等珍貴金屬者，後漸演變成藏西製喀什米爾風格佛像之典型特徵。

上文提及附銘之重要喀什米爾造像，乃一銅立佛，其袈裟、輪廓、底座皆與此風格相類，據古文字學及銘文內容，可推斷立像製於羯迦吒迦王朝初祖杜拉巴瓦爾達納在位年間（約600-636），詳見 Ulrich von Schroeder，《西藏佛教雕塑》，香港，2001年，卷1，頁126-29，圖版28A-D。