清乾隆 銅鎏金金剛持佛坐像

拍品描述

英文品名：A GILT-BRONZE SEATED FIGURE OF A VAJRADHARA BUDDHA 尺寸：L:46cm;W:36cm;H:68cm 銅鎏金。佛結跏趺坐於雙層仰覆蓮臺之上，雙臂交叉於胸前，雙手結金剛拳印、捧金剛杵。頭戴五葉寶冠，冠葉鏨刻卷草紋並鑲松石；額間白毫鑲藍料，眉眼低垂，面容慈藹。身佩項鏈、瓔珞、臂釧、腕釧，凡寶飾處均鑲松石，髮絲與衣緣處露出深色銅胎。蓮臺瓣層飽滿，邊緣起聯珠紋。整器鎏金厚重，鑄刻精嚴，為藏傳佛教供奉造像。藏傳鎏金銅像多採失蠟法澆鑄：先以蜂蠟刻成蠟模，外覆泥漿成範，加熱使蠟流出，再灌入銅液，冷卻後破範取出。最後於銅面塗金汞齊，炭火烘烤使汞揮發，金層附著，再以瑪瑙壓光。冠葉、瓔珞上另鑲松石、紅藍料珠，是乾隆朝宮中造像典型工序。 A large gilt-bronze Buddha seated in vajrasana on a double-lotus throne, the arms crossed at the chest with hands holding a vajra. The crowned figure wears an elaborate five-leaf crown chased with scrolls and inlaid with turquoise, a blue urna on the forehead, and downcast serene eyes. Necklaces, armlets and bangles are all set with turquoise, dark patina showing in the hair and hems. The lotus petals are full and rounded, edged with beaded borders. Cast and chased with precision. Tibetan gilt bronzes were usually cast by the lost-wax method: a wax model was carved, encased in clay, heated to melt out the wax, and molten bronze poured in; after cooling the mould was broken away. Fire-gilding was then applied by the mercury-amalgam method and burnished with an agate. Turquoise and red and blue glass cabochons were set into the crown and jewellery, a standard sequence for Qianlong-period imperial image-making.

图片