馆藏中国：芝加哥艺术博物馆-深度阅读 -

深度阅读

馆藏中国：芝加哥艺术博物馆

来自: 南山供秀 | 发布时间：2021-12-15 19:59 | 查看: 731 | 发布者: Ansanjin |

摘要: 　　https://www.artic.edu/visit?lang=zh　　馆藏中国是“南山供秀”平台根据平时收集的各博物馆官网资料而整理的专题内容，主要以分享为主，对内容新老不做辨伪。　　本期分享芝加哥艺术博物馆收藏的中国文物。芝加哥艺术博物馆修建于1891年，位于芝加哥市中心，密歇根湖湖畔，由三幢三层建筑联接而成。收集展品极为丰富，以绘画，雕塑为主，辅有建筑， ...

　　https://www.artic.edu/visit?lang=zh

　　馆藏中国是“南山供秀”平台根据平时收集的各博物馆官网资料而整理的专题内容，主要以分享为主，对内容新老不做辨伪。

　　本期分享芝加哥艺术博物馆收藏的中国文物。芝加哥艺术博物馆修建于1891年，位于芝加哥市中心，密歇根湖湖畔，由三幢三层建筑联接而成。收集展品极为丰富，以绘画，雕塑为主，辅有建筑，摄影、手工艺、纺织等，时间跨度由公元前3000年古埃及的古陶乃至当代的波普艺术，以希腊、罗马、欧洲、美国的艺术品为主，兼收印度、东南亚、中国、日、韩、非洲与美洲的艺术品，是美国三大博物馆之一。

　　本篇只选取部分馆藏造像展示，其它中国文物请下载查看。

https://www.artic.edu/collection?place_ids=China

　　https://www.artic.edu/artworks/86380/buddha

　　Buddha

Date：Tang dynasty (A.D. 618–907), c. 725/50

Dimensions：：H. 219.7 cm (86.5 in.); diam. 111 cm (43.7 in.)

Credit Line：Lucy Maud Buckingham Collection，1930.83

　　Following its introduction from India centuries earlier, Buddhism flourished in China under the powerfully cosmopolitan Tang dynasty. Characteristic of Tang style in its robust, tapered physique, this monumental figure exhibits iconographic features distinctive to the Buddha: tightly curled hair covering a cranial mound symbolizes his enlightenment; and a forehead depression that originally held a stone or jewel represents wisdom. The articulated folds of the deity’s flowing robe integrate Indian sensuality with a distinctly Tang blend of realism and linear elegance. Capping the deity’s right shoulder, this garment discreetly modifies a fully bare-chested style described in Indian monastic texts.

　　The stepped pedestal rises from a base encircled by lotus petals pure white flowers that rise from muddy water and thereby evoke Buddhist beliefs in purity and the search for enlightenment. Above, musicians encircling the tapered stem evoke an ideal, celestial realm.

　　Together with two attendant bodhisattvas in the Art Institute collection (1930.84 and 1930.85), this sculpture came to the museum in 1930 with a note of its discovery in a temple known as Cangfosi in northern Hebei province. Neither archaeological nor written records have been located to confirm this reported site. The scale and stone medium of these figures suggest that they were commissioned for a cave temple or shrine—a chamber carved into the face of a mountain or cliff.

　　https://www.artic.edu/artworks/4453/bodhisattva

　　Bodhisattva

Date：Tang dynasty (618–906), c. 725/50

　　Dimensions：H. 157.5 cm (62 in.); diam. 80.6 cm (31 3/4 in.)

Credit Line：Lucy Maud Buckingham Collection，1930.85

　　In eighth-century China, Buddhist sculptors adopted new standards of secular beauty for spiritual figures. Whereas images of the Buddha appear sternly formal, bodhisattvas, the merciful deities that guide men toward salvation, often display more humanistic features. This bodhisattva’s graceful proportions, upswept hair, sinuous drapery, and delicate jewelry convey an appealing physical elegance. Seated informally, the deity is poised to step down from its pedestal.

　　Together with a large seated Buddha and another attendant bodhisattva in the Art Institute collection (1930.83, 1930.84), this sculpture came to the museum in 1930 with a note of its discovery in a temple known as Cangfosi in northern Hebei province. Neither archaeological nor written records have been located to confirm this reported site. The scale and stone medium of these figures suggest that they were commissioned for a cave temple or shrine a chamber carved into the face of a mountain or cliff.

　　https://www.artic.edu/artworks/4450/bodhisattva

　　Bodhisattva

Date：:Tang dynasty (A.D. 618–907), c. 725/50

　　Dimensions：H 157.5 cm (62 in.); diam. 78.1 cm (30 3/4 in.)

　　Credit Line：Lucy Maud Buckingham Collection，1930.84a

https://www.artic.edu/artworks/11690/maitreya

Maitreya Buddha (Mi-le, 彌勒佛 )

Date:：Tang dynasty (A.D. 618–906), dated 705

Dimensions：82.3 × 33.0 × 30.2 cm (32.4 × 12.9 × 11.9 in.)

Credit Line：Gift of Alice Getty，1924.115

An inscription on the base of this image states that it was dedicated in 705 by the Buddhist disciple Yang Zongchun “for the sake of [his] deceased parents and seven generations of deceased ancestors, present family members, and all paternal and maternal relatives.” The inscription also mentions that the figure was part of a triad, originally flanked by two bodhisattvas representing emanations of Mi-le’s power and mercy, respectively.

https://www.artic.edu/artworks/11094/monk

Monk

Date：Sui Dynasty (589–618 A.D.)

Dimensions：34 1/2 x 10 x 7 3/4 in.

Credit Line：Lucy Maud Buckingham Collection，1932.223

https://www.artic.edu/artworks/11091/monk

Monk

Date：Sui Dynasty (589–618 A.D.)

Dimensions：34 3/4 x 10 x 6 1/2 in.

Credit Line：Lucy Maud Buckingham Collection，1932.222

　　https://www.artic.edu/artworks/29149/buddhist-votive-stele

　　Buddhist Votive Stele

Date：Western Wei dynasty (A.D. 535–557), dated A.D. 551

　　Dimensions：339 × 99 × 21.6 cm (133 1/2 × 39 × 8 1/2 in.)

　　Credit Line：Gift of The Orientals，1926.591

　　Buddhist stone tablets known as votive steles were commissioned by pious individuals and families, and erected in temple courtyards and other public spaces. The horizontal registers on this stele illustrate scenes from the life of the Buddha and from sacred texts. The upper pair of niches on this side depicts the death of the Buddha (right) and preparations for his cremation (left). On the opposite side, the primary scene represents the Buddha preaching the Lotus Sutra, a major scripture transmitted from India. The niches above show the Buddha flanked by monks and bodhisattvas (enlightened beings). Surrounding carvings portray ascetics, guardians, protective lions, heavenly musicians, and priests. Inscribed around the lower portion are the names of donors who commissioned this stele to commemorate their ancestors. The most important of these donors appear as standardized figures with parasols held aloft by their attendants. By commissioning such tablets, pious devotees hoped to gain spiritual benefits for themselves and their families.

https://www.artic.edu/artworks/33997/section-of-a-buddhist-pagoda

Section of a Buddhist Pagoda

Date：Tang dynasty (A.D. 618–907), dated 724

Dimensions：66.0 × 43.2 × 41.9 cm (26 × 17 × 16 1/2 in.)

Credit Line：Lucy Maud Buckingham Collection，1927.287

These two stone slabs originally formed the first story of a miniature Buddhist pagoda, which was elevated on a tiered base. Many such pagodas, usually standing seven or nine stories tall, are preserved from the eighth century in northern China.

Now separated for display, these slabs were once tightly aligned to form one chamber whose interior was visible only though a canopied doorway cut into the front slab. Dynamic guardians, flying apsaras (heavenly beings), writhing dragons, and an ogre mask protect this doorway, which opens into a sacred space. The Buddha, seated in the center, is flanked by two bodhisattvas (compassionate saintly beings) holding lotus flowers. The bodhisattvas’ fluid postures, which echo those of sensual images from contemporary Indian art, distinguish many Buddhist sculptures of early-eighth-century China.

A long inscription, carved into the left side of both slabs, states that the family of Jia Heida commissioned this pagoda in honorable devotion to his deceased parents. Replete with Buddhist metaphors and allusions to the Buddha s life, this text opens with a bleak perspective on the physical world and then praises both Buddhist teachings of spiritual redemption and secular values of Chinese filial devotion. The inscription closes with a prayer extolling Buddhist principles.

The back of the rear slab is incised with images of two brothers, the bodhisattvas of medicine, who vow to heal the sick. The elder brother (left) holds a bowl containing a lotus flower, which symbolizes medicine; the younger brother (right) joins his hands in prayer. A small figure in the lower-left corner, who reaches out with one arm, as if pleading for medicine, may represent a faithful devotee. Inscriptions along the far-left and far-right edges identify the patron of these images as Konghui, a Buddhist nun. Inscriptions to the left of both brothers offer praise to the bodhisattvas.

https://www.artic.edu/artworks/9613/head-of-guanyin

Head of Guanyin

Date：late Northern Qi/Sui dynasty, late 6th century

Dimensions：68.6 × 43.2 × 45.7 cm (27 1/16 × 17 1/16 × 18 in.)

Credit Line：Samuel M. Nickerson Collection，1923.1114

The benign, altruistic aspect of Buddhism is expressed in this beautifully sculpted marble head of the bodhisattva Guanyin (Sanskrit: Avalokitesvara). The miniature image of the Buddha known as Amitabha (Amituo), depicted in the crown, is clear indication of the bodhisattva’s identity. Certain features of this head are shared with other Buddhist icons: the concave forehead circle (urna) is an auspicious mark from which wisdom radiates; the elongated earlobes allude to the aristocratic Indian custom of wearing heavy earrings, and thereby to the Buddha’s early life as an Indian prince.

This majestic head, which was severed from a monumental standing figure, characterizes the finest sculpture made in far northern China in the late sixth century. The fine-grain white marble from this area was well suited to rounded, smoothly polished surfaces and austere, idealized images. Serene benevolence emanates from Guanyin’s gentle, meditative expression (somewhat altered by later recutting of the pupils of the eyes).

https://www.artic.edu/artworks/80377/head-of-a-guardian-king

Head of a Guardian King

Date：n.d., style of Tang dynasty (618–907)

Credit Line：Gift of Robert Allerton，1921.35

备注：从图片看感觉存疑

https://www.artic.edu/artworks/88724/head-of-a-luohan

Head of a Luohan

Date：Northern Song, Liao, or Jin dynasty, c. 11th century

Dimensions：28.6 × 18 × 20 cm (11 1/4 × 7 1/16 × 7 7/8 in.)

Credit Line：Gift of the Orientals，1928.259

In traditional Buddhist belief, the luohan is a disciple who has attained enlightenment through intense personal effort. Beginning in the ninth century, the worship of luohan and their depiction in art evolved primarily in the context of the Chan (Zen), or “meditation,” sect of Buddhism. This head was created in the delicate technique of hollow dry lacquer. The artisan first soaked layers of coarse cloth in lacquer (a thick sap tapped from a sumac tree) and applied these to a clay core formed over an armature of wood or other material. After allowing the work to dry, he applied a thick layer of lacquer paste to create the basic shape of the sculpture and a thinner coat into which he carefully modeled the eyes, high cheekbones, and other facial features. After removing the core and supporting armature, he set colored beads behind the eyes to represent irises and pupils. Finally, he painted the surface and perhaps applied gilding. Although these surface finishes have disintegrated over the centuries, the sensitively executed facial features preserve the insightful expression of the luohan.

https://www.artic.edu/artworks/47961/head-of-luohan

Head of Luohan

Date：Northern Song, Liao, or Jin dynasty, c. 11th century

Dimensions：30.5 × 26.0 × 20.4 cm (11 13/16 × 10 1/4 × 8 1/16 in.)

Credit Line：Gift of Janis H. Palmer，1974.529

https://www.artic.edu/artworks/28487/buddha-standing-with-hand-in-gesture-of-reassurance-abhaymudra

Buddha, Standing with Hand in Gesture of Reassurance (Abhaymudra)

Date：Tang dynasty, 618–907, 7th/8th century

Dimensions：11.5 × 3.3 × 3.5 cm (4 1/2 × 1 1/2 × 1 3/8 in.)

Credit Line：James W. and Marilynn Alsdorf Collection，1967.709

https://www.artic.edu/artworks/28123/dicang-khsitigarbha-or-he-who-encompasses-the-earth-seated-and-holding-a-wish-bearing-jewel-cintamani

Dicang (Khsitigarbha), or “He Who Encompasses the Earth,” Seated and Holding a Wish-Bearing Jewel (Cintamani)

Date：Tang dynasty (618–907), c. 8th century

Dimensions：11 × 5 × 3.8 cm (4 5/16 × 2 × 1 1/2 in.)

Credit Line：Lucy Maud Buckingham Collection，1926.270

https://www.artic.edu/artworks/11151/guanyin-avalokiteshvara-standing-before-flaming-aureole-and-holding-a-water-bottle

Guanyin (Avalokiteshvara) Standing before Flaming Aureole and Holding a Water Bottle

Date:：Eastern or Western Wei dynasty, c. mid–5th century (rededicated 594)

Dimensions：16.5 × 4.7 × 3.7 cm (6 1/2 × 1 7/8 × 1 1/2 in.)

Credit Line：James W. and Marilynn Alsdorf Collection，1959.553

https://www.artic.edu/artworks/28125/bodhisattava

Bodhisattava

Date：Northern Wei dynasty (386–534), dated 524

Dimensions：13.3 × 5.2 × 7.1 cm (5 1/4 × 2 1/8 × 2 3/4 in.)

Credit Line：Lucy Maud Buckingham Collection，1926.271

https://www.artic.edu/artworks/28106/white-robed-guanyin-avalokiteshvara-in-thrice-bent-pose-tribhanga-holding-a-vase-with-nectar-of-immortality-amrta

White-Robed Guanyin (Avalokiteshvara) in “Thrice-Bent” Pose (Tribhanga), Holding a Vase with Nectar of Immortality (Amrta)

Date:：Sui dynasty (589–618), early 7th century

Dimensions：19.5 × 5.3 × 5.3 cm (7 5/8 × 2 1/8 × 2 1/8 in.)

Credit Line：Gift of Guy H. Mitchell，1926.265

　　https://www.artic.edu/artworks/33964/bodhisattva-in-thrice-bent-pose-tribhanga

　　Bodhisattva in “Thrice Bent” Pose (Tribhanga)

　　Date：Sui or early Tang dynasty, early 7th century

　　Credit Line：Lucy Maud Buckingham Collection，1927.275

　　https://www.artic.edu/artworks/99658/eleven-headed-and-six-armed-guanyin-avalokiteshvara-standing-on-a-lotus

　　Eleven-Headed and Six-Armed Guanyin (Avalokiteshvara) Standing on a Lotus

Date:：Tang dynasty (618–907), c. 9th century

　　Dimensions：9.3 × 3.5 × 2.5 cm (3 3/4 × 1 3/8 × 1 in.)

Credit Line：Gift of C. A. Islinger in memory of his mother Helen Islinger，1982.1676

https://www.artic.edu/artworks/26091/vajrasattva-seated-on-lotus-flower-with-hands-grasping-a-thunderbolt-vajra-and-bell-ghanta-with-thunderbolt-handle

Vajrasattva Seated on Lotus Flower with Hands Grasping a Thunderbolt (Vajra) and Bell (Ghanta) with Thunderbolt Handle

Date：Tang dynasty (618–907), late 8th/early 9th century

Dimensions：10.8 × 5.5 × 5 cm (4 1/4 × 2 1/8 × 2 in.)

Credit Line：James W. and Marilynn Alsdorf Collection，1966.481

　　https://www.artic.edu/artworks/28112/guanyin-avalokiteshvara-holding-lotus-form-cup

　　Guanyin (Avalokiteshvara) Holding Lotus-Form Cup

　　Date：Yuan dynasty (1279–1368), 14th century

Dimensions：25.5 × 19 × 14.2 cm (10 × 7 1/2 × 5 5/8 in.)

Credit Line：Gift of Guy H. Mitchell，1926.267

　　备注：此件应该是大理国

　　https://www.artic.edu/artworks/28109/guanyin-avalokiteshvara

　　Guanyin (Avalokiteshvara)

　　Date：Dali kingdom (c. 937–1253), 12th century

　　Dimensions：34 × 6.4 × 5.6 cm (13 3/8 × 2 1/2 × 2 1/4 in.)

Credit Line：Gift of Guy H. Mitchell，1926.266

　　https://www.artic.edu/artworks/28128/guanyin-avalokitesvara

　　Guanyin (Avalokitesvara)

　　Date：Liao dynasty (907–1125), 11th century

　　Dimensions：34.4 × 9.8 × 8.7 cm (13 1/2 × 3 7/8 × 3 3/8 in.)

Credit Line：Lucy Maud Buckingham Collection，1926.272

　　https://www.artic.edu/artworks/28158/guanyin-avalokiteshvara

　　Guanyin (Avalokiteshvara)

　　Date：Yuan/early Ming dynasty, late 14th century

Dimensions：35.6 × 15.7 × 8.1 cm (14 × 6 1/8 × 3 3/16 in.)

Credit Line：Lucy Maud Buckingham Collection，1926.282a

　　In its willowy proportions, as well as facial features and dress, this image exemplifies the Chinese manifestation of the princely Indian deity Avalokitesvara as the distinctively feminine Goddess of Mercy (Guanyin). Her necklaces of symmetrical loops and pendants closely resemble those of richly adorned images dating to the late 14th century, which spanned the Mongol Yuan dynasty (1279 1368) and China’s return to native rule under the Ming (1368 1644).

　　This image originally contained a strip of paper inscribed in Tibetan with Sanskrit mantras (ritual chants). Although both Yuan and Ming elites maintained close relations with Tibet, the presence of this sacred record in an elegantly secularized figure is unusual.

Status

　　https://www.artic.edu/artworks/15722

　　Green Tara, Seated in Pose of Royal Ease (Lalitasana), with Lotus Stalks on Right Shoulder and Hands in Gestures of Reasoning (Vitarkamudra) and Gift Conferring (Varadamudra)

　　Date：Ming dynasty (1368–1644), Yongle reign mark and period (1403–24)

Dimensions：21.5 × 13.5 × 12.5 cm (8 1/2 × 5 1/4 × 4 7/8 in.)

Credit Line：Gift of Guy H. Mitchell，1925.378

　　This image depicts one of many emanations of the compassionate god Tara. An inscription on the top surface of its throne reads “Da Ming Yongle nian zhi” (Bestowed in the Yongle reign of the Great Ming). The Yongle emperor was the third ruler of the Ming dynasty and a great patron of Buddhist art.

　　https://www.artic.edu/artworks/15726/one-of-the-five-celestial-buddhas-seated-with-hands-in-gestures-of-meditation-dhyanamudra-and-reassurance-abhaymudra

　　One of the Five Celestial Buddhas, Seated with Hands in Gestures of Meditation (Dhyanamudra) and Reassurance (Abhaymudra)

　　Date：Ming dynasty (1368–1644), Yongle period (1403–24)

　　Dimensions：18 × 12.3 × 9.3 cm (7 1/8 × 4 7/8 × 3 5/8 in.)