Swat

斯瓦特

Located in present-day Pakistan, Swat was previously known as ‘Udyana’. Numerous brass statues were produced in this region that incorporate the thick garment for which Gandharan statues are known. This was a popular style in northwestern India and central Asia from the 1st century. Swat statues also display features of the Gupta school (popular in north India from the 4th to 7th century), including spiraled hair and V-necked robes arranged in regular folds over taut muscles. Some features of Swat brass statues are also localised: plump faces with wide eyes and flat nostrils, muscular physiques. Ornaments in gold, silver and copper are used on the eyes, lips and urna.

斯瓦特今屬巴基斯坦，古稱「烏仗那」，出產甚多黃銅造像，吸收犍陀羅藝術特色（盛行於公元1世紀印度西北至中亞一帶），佛身袈裟厚重，亦承襲笈多藝術風格（盛行於4至7世紀印度北部），頭梳螺髮，衣領底尖，袈裟貼身，肌肉凸現，衣褶線條排列規整。本地特色則見於其頰頤豐滿，雙目大睜，鼻樑扁平，肌肉剛勁有力，造像眼眸、嘴唇和白毫上錯金、銀及紅銅。

Figure of Buddha

Swat Valley, 6th–7th century

Silver inlaid copper alloy, H. 19 cm

Private collection

This figure of a standing Buddha displays some of the features most often associated with the Swat Valley, which incorporated many characteristics from Greek sculpture, such as chiselled facial features and hair arranged in fan-like waves. Figures from the region often exhibit the Gesture of Granting Wishes (Varada mudra) in the right hand while the left holds the ends of the robe at the left shoulder with relatively large hands.

Moreover, the style of the Buddha’s robe, with a thick hem along the neck that covers both shoulders, is also a Swat Valley convention, as are the heavy pleats along the torso. This robe treatment is clearly rooted in earlier works from the Gandharan region.

佛像

斯瓦特河谷，6至7世紀

紅銅合金錯銀，高19厘米

私人收藏

此佛陀立像輪郭分明，頭髮蜷曲，融會希臘雕塑傳統，屬斯瓦特河谷典型造像。當地佛像多以右手施與願印，左手屈起，執衣角於肩旁，手掌比例略大。衣著承襲犍陀羅傳統，通肩袈裟厚重，領緣較粗。

Techniques 技藝

Lost wax casting 失蠟鑄造

Seated gilt bronze figure

Swat Valley, 7th century

Bronze with gold and silver gilding, H. 8 cm

Nyingjei Lam Collection

This unidentified figure has a small diadem secured by a thin gilt ribbon wrapped around the head, which has made a slight impression in the hair. Thick locks fall onto the forehead, while longer tresses are pulled upward and secured at the crown of the head, from where they fall in a cascade of thick ringlets. The large tang affixed to the lower torso would have been used to attach the figure to a larger setting.

The excavated sculpture has lost some of its original surface due to corrosion. Still, a large portion of silvering and gilding, techniques mastered in the Swat Valley, remains rich and lustrous, as can be seen on the eyes, flywhisk (its handle now lost), shawl and lower garment. Regional features are also exemplified by the wide, unembellished lotus petals, as well as the fleshy, rounded torsos, limbs and facial features.

鎏金銀青銅坐像

斯瓦特河谷，7世紀

鎏金銀青銅，高8厘米

菩薩道收藏

此像身分尚待辨識。像首戴冠，腰束金帶。曲髮髧至額頭，其餘則紮在冠上，髮端繫以金環。身後設榫頭，供配件接駁。

雖為出土文物，部分表面遭腐蝕，但雙目、拂塵（手柄從缺）、披肩和下身衣著的鎏金、鎏銀仍然濃厚，光澤豐潤。7世紀時，斯瓦特河谷工匠的鎏金銀技藝已相當純熟。另蓮瓣樸素厚重、肢體和面容線條飽滿，也屬當地造像特徵。

Techniques 技藝

Lost wax casting 失蠟鑄造

Guilding 鎏金

Figure of Padmapani

Swat Valley, 8th century

Silver inlaid bronze, H. 14 cm

Private collection

At the hip of Padmapani rests the bud of a lotus flower that has yet to bloom, possibly symbolising his own deferment of nirvana in order to free all living beings from the reincarnation cycle of samsara. Though seated in a relaxed manner, he tightens his midsection as if simulating the breath control undertaken by a yoga adept.

He wears a fan-shaped headdress behind his diadem, confirming his attribution to the Swat Valley. Additionally, the simpler treatment of the work’s bracelets and necklace reflects an awareness for earlier North-Indian design of the Gupta.

蓮華手觀音像

斯瓦特河谷，8世紀

青銅錯銀，高14厘米

私人收藏

此像身分尚待辨識。像首戴冠，腰束金帶。曲髮髧至額頭，其餘則紮在冠上，髮端繫以金環。身後設榫頭，供配件接駁。

Techniques 技藝

Lost wax casting 失蠟鑄造

Figure of Padmapani

Swat Valley, 8th century

Silver inlaid bronze alloy, H. 14 cm

Private collection

Apart from the lotus flower stem creeping up behind the left shoulder, Avalokiteshvara Padmapani’s identity is complemented by a small Buddha Amitabha seated in his crown’s centre.

The Pralambada asana, also called the European Sitting pose, is common in the Gandharan tradition. Differing from the swollen features and exaggerated proportions of Kashmiri bronzes, the ovular shape of the bodhisattva’s head and the narrower treatment of his nose demonstrate the characteristics of figures from the Swat Valley, which are also exhibited by the animated gleam of his silver-inlaid eyes.

蓮華手觀音像

斯瓦特河谷，8世紀

青銅合金錯銀，高14厘米

私人收藏

此像手持蓮花，蓮莖攀至左肩。菩薩為阿彌陀佛脅侍，故寶冠中央刻有微型佛像。承襲犍陀羅造像特色，雙腳自然垂放，結善跏趺坐，此坐又名「歐式坐姿」，源自西方雕塑傳統。斯瓦特河谷造像頭部多呈橢圓形，鼻型修長，雙目錯銀，更顯有神。

Techniques 技藝

Lost wax casting 失蠟鑄造