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Tokyo National Museum Horyu-ji Dedicated Treasure Asuka period/7th century Bodhisattva statue 东京国立博物馆法隆寺献纳宝物飞鸟时代（7世纪）鎏金菩萨立像

Tokyo National Museum Horyu-ji Dedicated Treasure Asuka period/7th century Bodhisattva statue 东京国立博物馆法隆寺献纳宝物飞鸟时代（7世纪）鎏金菩萨立像

            N-186 Gilt Bronze Height: 38cm 

This image has a touch of the Indian style, such as the hair bound like a turban, the barrette-like front head decoration and the kun (skirt) rolled up to the ankles. The facial features, posture, way of wearing the tenne (a long cloth) and the kun and the shape of the edgy lotus petals on the pedestal are similar to those of a Bodhisattva image, an attendant of the Amitaba trinity or Biku image (for example N-198) among repousse reliefs depicting Buddhist deities that had been owned by Horyuji Temple.
The body and the pedestal are cast separately. The body up to the tenons under the feet is created in one cast and hollowed out from the head to the bottom of the kun. The space between the feet that shows from the bottom of the kun is open. The overall thickness of the copper is thin and almost even. An iron core remains within the image from the top of the head to the abdomen. A square katamochi (a metal piece inserted between the outer and inner molds) is installed in the center of the abdomen and in the center of the belt on the back. An inlay treatment remains in two places below the hips on the back, while the tip of the fifth finger of the left hand, which is missing now, seems to have been created separately and inlaid. The pedestal is created in one cast and there are mortises on the lotus core to receive the tenons created at the bottom of the feet and for a halo support. While mold cavities can be found all over the body and the pedestal, they are particularly concentrated in the area around the top of the head and in the lower half of each leg. While gold plating remains over the body and pedestal, coloring can be seen only on the body, with lapis lazuli on the hair, vermillion (or Bengala) on the lips and black sumi on the eyebrows, mustache and outlines of the eyes and lips.

头发扎起宛如头巾、仅装饰在正面的发结式头饰、下摆翻起的裙，菩萨像的这些特点令人联想起印度风俗。菩萨像的面容和姿态、天衣及衣裙的穿法、前端带有棱角的台座莲瓣形状等，都与法隆寺相传的锤鍱佛像中的阿弥陀三尊及比丘像(例如N-198)的侍从菩萨像具有相同之处。
本体及台座为分别铸造。本体部分包括双脚下造出的榫采用一次铸成，头部到裙摆的内部为中空，裙摆底面的双脚之间向外开口。铜层厚度较薄且整体厚度基本均匀。从头顶至腹部的内部残留有铁芯。腹部及背面腰带的各中央设有方形的芯撑。背面腰部下方有2处镶金，据推测左手第5指的指尖也曾镶嵌有其他物品，但现已缺失。整个台座也是一次铸成，莲肉顶面设有容纳本体部分双脚下榫头的榫孔及背光支柱用榫孔。整个本体及台座可见铸造气孔，尤其在本体头顶部及脚部下半处等部位较多。本体及台座的镀金保留状况均完好，但只有本体部分上色，头发为群青，嘴唇为朱色(也可能是铁丹)，眉、髭须、眼及嘴唇轮廓为墨绘。

ターバンのように束ねた髪、正面にだけつける髪留め風の頭飾、裾をたくし上げる裙などに、インド的な風俗を思わせる像である。その顔立ちや姿勢、天衣や裙のつけ方、先端に稜をたてる台座蓮弁の形などは、法隆寺に伝来した押出仏中、阿弥陀三尊及び比丘形像（例えばN-198）の脇侍菩薩像と共通するものが認められる。
本体と台座は各別鋳とする。本体部は両足下にそれぞれ造り出した足枘を含む一鋳で造り、頭部から裙裾まで内部を中空とし、裙裾底面の両足間が外部へ開口する。銅厚は薄手で全体にほぼ均一である。像内には頭頂から腹部辺まで鉄心が残存する。腹部と背面腰帯の各中央に方形の型持を設けている。背面腰部下方の2個所に嵌金があり、また現在欠失するが、左手第5指先も別製のものを象嵌していたとみられる。台座も全容を一鋳で造り、蓮肉上面に本体部両足下の枘を受ける枘穴と光背支柱用の枘穴を設ける。鬆は本体、台座も全体にみられるが、特に本体の頭頂部、脚部の下半等に多い。鍍金も両者ともに良く残るが、彩色は本体部のみで、頭髪に群青、唇に朱（あるいはベンガラか）、眉、口ひげ、目と唇の輪郭に墨描きが認められる。
   

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Taken on: December 5, 2024

Tags:

法隆寺

法隆寺宝物館

Gilt

Gilded

法隆寺献納宝物

東京国立博物館

东京国立博物馆

镀金

鎏金 « less

Sets appears in: • Japan 日本 • Tokyo Museum and Gallery

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