Kashmir

喀什米爾

Kashmir is located at the crossroads of India, Pakistan and the Tibetan Plateau. A highly individual artistic style was developed there beginning in the 6th century. Despite incorporating several Gandharan features, Kashmiri art was highly localised: figures are adorned in thin and light robes with well defined musculature, especially the chest. Elongated and muscular bodhisattva statues feature floral or pointed crowns. Thrones are designed in the shape of rocks or embellished with animal motifs and ornaments made from copper, silver and precious stones are applied to seats and garments. Specific body parts, such as eyes, nipples and lips are accentuated.

喀什米爾位於印、巴、青藏高原之交，6世紀後發展出獨特藝術風格，雖保留部分犍陀羅藝術特徵，但本地風格明顯：佛像袈裟輕薄，肌肉飽滿；晚期菩薩像披長花鬘，戴尖頂或花飾寶冠，身材較修長；坐具設計獨特，如山石座、鳥獸座等；多以紅銅、銀和彩石裝飾坐墊、短裙和身體各部位，包括眼睛、嘴唇及乳頭等。

Halo for a Seated Buddha

Kashmir, 8th century

Bronze with silver inlay, H. 29 cm

Private collection

This elliptical halo once provided a backdrop for the throne of a seated Buddha sculpture. Two bodhisattvas flank the space occupied by the central image, standing aside two decorated pillars surmounted by kinnara—half-human, half-avian creatures playing musical instruments, behind whose tails is a cascade of scrolls. Seven Buddhas of the Past (assuming the absent figure to be Maitreya, the Future Buddha), or six of them and Maitreya (assuming the absent figure to be Shakyamuni)—are enveloped by interlocking foliage. The robes and eyes of the Buddhas are also highlighted with silver, while copper is used on their lips and in the lower garment of the bodhisattvas.

A stupa, a symbol of the enlightened mind, is surmounted by a sun and moon, symbolising wisdom and compassion, attached with banderoles at the halo’s pinnacle. The entire halo is marked with stylised flames along the outer edge as a gateway of light. The inner boundaries are adorned with silver-laid beads rendered as pearls.

佛像背光

喀什米爾，8世紀

青銅錯銀，高29厘米

私人收藏

此原為一尊佛像身後之背光。兩邊為脅侍菩薩，石柱豎其側，緊那羅立於其上，牽帶花簇。緊那羅為半人半鳥，能歌擅舞，以此敬佛。上方花蔓間為過去七佛（若未來佛彌勒為從缺的佛像）；或過去六佛和未來佛（若釋迦牟尼為從缺佛像）。諸佛的袈裟和雙目皆錯銀，菩薩的雙唇及衣裳則錯銅。

背光頂部為佛塔，代表佛的法身，尖頂兩側繫飄帶，上方為日月，象徵智慧與慈悲。內緣滿布仿珍珠的錯銀圓粒，外緣則為火焰，喻示佛身放大光明。

Techniques 技藝

Lost wax casting 失蠟鑄造

Chasing 鏨刻

Figure of Shakyamuni

Kashmir, 8th century

Copper and silver inlaid brass, H. 24 cm

Cissy and Robert Tang Collection

The figure of Shakyamuni is shown in a re-enactment of his first sermon at the Deer Park in Sarnath. His interlocking fingers turn the Wheel of Dharma (Dharma chakra) as he is seated on a square cushion supported by a pair of lions, which affirms his status. Shakyamuni’s shoulders are draped in a diaphanous robe with evenly rippled folds. Behind the figure is a projecting tang along with two holes at the back of the head and cushion, indicating that he once had a separately cast halo.

The robust upper torso beneath the v-shaped collar of Shakyamuni’s clinging robe demonstrates the earlier traditions of both Gandharan and Guptan art carried out in Kashmiri bronzes. Other Kashimiri characteristics include a broad nose, the distinctive throne designs (animal motifs and downward pointing lotus petals, and silver inlays on the urna and almond-shaped eyes.

釋迦牟尼像

喀什米爾，8世紀

黃銅錯銀及紅銅，高24厘米

喜聞過齋藏

此乃釋迦牟尼於鹿野苑初說法時的形象，是為初轉法輪，故雙手結說法印，表示以法輪摧破煩惱，使身心清淨。聖座兩足為獅子形象，以示佛陀尊貴。佛陀身穿通透袈裟，摺痕均勻。背部有榫，頭部、座墊後方均有小洞，顯示此像原有分別鑄造的背光配件。

佛像身材健碩，袈裟現倒三角型衣領，分別為犍陀羅和笈多藝術特色，常見於早期喀什米爾造像。當地造像特徵亦見於其寬闊鼻型、坐具設計獨特（動物造型和蓮瓣下垂）以及白毫和雙目錯銀。

Techniques 技藝

Lost wax casting 失蠟鑄造