皇冠菩萨 - 美国大都会艺术博物馆展品查阅

品名（中）	皇冠菩萨
品名（英）	Crowned Bodhisattva
入馆年号	2016年，2016.701
策展部门	亚洲艺术（Asian Art）
创作者
创作年份	公元 200 - 公元 323
创作地区
分类	雕塑（Sculpture）
尺寸	高 16 3/4 英寸 (42.5 厘米); 宽 13 英寸 (33 厘米); 深 6 1/2 英寸 (16.5 厘米)
介绍（中）	这位年轻的佛教救世主，卷曲的头发垂落到肩膀上，是早期印度这种人物类型中最吸引人的图像之一。他肩膀宽阔，腰身纤细，是普世君主（查克拉瓦丁）佛型的原型贵霜相貌。这一概念一直延续到头部装饰的特殊处理中，其尊贵的冠冕和主持的父母佛陀。为了与马图拉贵霜学校的作品保持一致，面部细节雕刻得很锐利，向面部传达了可塑性和传统的自然主义。额头标记（urna），在文字上被描述为一簇头发，但通常表示为一个凸起的点，是贵族的吉祥标志，并被接受为佛陀的叻沙纳斯之一，表示佛性。菩萨的胸前装饰着一系列精美的珠宝。靠近脖子的是一串大珍珠，其中心呈矩形，可能打算成为宝石。下面是一个平坦的扭矩，带有切割的装饰。覆盖这些的是一条巨大的项链，由五串珍珠组成，上面有神话般的马卡拉斯痕迹，鳄鱼般的下颚作为终端。相关设计的线图证实了这一鉴定。接下来是一根编织绳，上面挂着一个带有六个钟形吊坠的铁饼装饰品。与此相连的是另一根绳子，上面挂着三个圆柱形护身符盒，挂在下胸部，这在犍陀罗地区的菩萨上经常看到。最后，他戴着一根神圣的绳索，从左肩延伸到腰部。在马图拉（Vogel 1930，pl. XXXIVa）的男性躯干碎片上可以看到几乎相同的珠宝配置，并且与勒克瑙的真人大小的冥想菩萨略有不同。马图拉躯干还在肩膀上展示了逐渐变细的长发，在我们的雕塑中被视为层叠的卷发。这两件作品在展示未剪的长发方面都很少见，很可能是为了回应耆那教救世主的第一位吉娜·里沙巴纳塔（Jina Rishabhanatha）的竞争对手形象而制作的。
介绍（英）	This youthful Buddhist savior, with curled lockets of hairs cascading to his shoulders, is amongst the most appealing images of this figure type from early India. He is broad shouldered with a slender waist, the archetypal Kushan physiognomy of the universal monarch (chakravartin) Buddha-type. This concept is carried through to the exceptional treatment of the head decoration, with its distinguished crown and the presiding parent Buddha. In keeping with works of the Kushan school at Mathura, the facial details are sharply carved, conveying a plasticity and a conventionalized naturalism to the face. The forehead mark (urna), textually described as a tuft of hair but typically represented as a raised dot, is an auspicious sign of nobility and accepted as one of the Buddha’s lakshanas, denoting Buddhahood. The bodhisattva’s chest is adorned with an elaborate array of jewelry. Close to the neck is a string of large pearls with a rectangular centerpiece likely intended to be a gemstone. Below this is a flat torque, with incised décor. Overlaying these is a massive necklace consisting of five strands of pearls with traces of mythical makaras with crocodile-like jaws serving as the terminals. Line drawings of related designs confirm this identification. Next is a woven cord from which hangs a discus ornament with six bell-shaped pendants. Attached to this is another cord which carries three cylindrical amulet cases slung across the lower chest, as routinely seen on Gandharan-region bodhisattvas. Finally, he wears a sacred cord which extends from his left shoulder to his waist. A nearly identical configuration of jewelry is seen on a male torso fragment from Mathura (Vogel 1930, pl. XXXIVa), and with slight variation on the life sized meditating bodhisattva in Lucknow. The Mathura torso also displays tapering strands of long hair on the shoulders, treated in our sculpture as cascading curls. Both works are rare in displaying long uncut hair, and likely were produced in response to rival imagery of the Jina Rishabhanatha, the first of the Jain saviors.