清乾隆 銅鎏金菩薩坐像

拍品描述

英文品名：A GILT-BRONZE SEATED FIGURE OF A BODHISATTVA, QING DYNASTY, QIANLONG PERIOD 尺寸：H:24cm 銅鎏金。菩薩結跏趺坐於雙層仰蓮須彌座上，右手下垂觸地結觸地印，左手置於腹前結禪定印。頭戴五葉寶冠，冠葉鏨刻精細，高髻前現化佛，長耳銜圓璫。面目慈藹，眉眼細長微俯，額間白毫。身佩項鏈、瓔珞、臂釧、腕釧，絛帶斜垂，髮絲與衣緣露出深色銅胎。蓮瓣飽滿，邊起聯珠。整器鎏金古潤，刻工嚴謹。鎏金又稱「塗金」「火鍍金」，其法先將黃金與水銀混合成金汞齊，塗於銅器表面，再以炭火烘烤，水銀蒸發而金層固著於胎，反覆多次後以瑪瑙或玉石壓光。戰國兩漢已見，唐代用於佛像最盛。清宮造辦處亦設鎏金作，凡佛像、法器、陳設器多採此法。此像衣緣、髮絲深處露出深色銅胎，即鎏金層因年久磨耗而見胎之證。 A gilt-bronze bodhisattva seated in vajrasana on a double-lotus pedestal. The right hand droops to the knee in bhumisparsha mudra and the left rests in the lap in dhyana mudra. The figure wears a finely chased five-leaf crown, a high topknot with a seated Buddha at the front, and large circular earrings. The face is serene with downcast slender eyes and an urna on the forehead. Necklaces, jewelled chains, armlets and bangles are worn, a sash falling diagonally, dark patina showing in the hair and hems. The lotus petals are full, edged with beaded borders. The gilding is mellow and ancient, the casting precise. Gilding, also called fire-gilding, was done by mixing gold with mercury into an amalgam, applying it to the bronze surface, then heating over charcoal so the mercury evaporated and the gold adhered. Repeated applications were followed by burnishing with agate or jade. Known since the Warring States, it was used especially on Buddhist images from the Tang; the Qing Imperial Workshop maintained a gilding section for figures, ritual objects and display wares. The dark bronze showing at the hems and hair of this figure is the base revealed where gilding has worn.

图片