赫连子悦造像碑 - 美国大都会艺术博物馆展品查阅

品名（中）	赫连子悦造像碑
品名（英）	Stele commissioned by Helian Ziyue (赫蓮子悅)
入馆年号	1982年，1982.200
策展部门	亚洲艺术（Asian Art）
创作者
创作年份	公元 544
创作地区
分类	雕塑（Sculpture）
尺寸	高 8 15/16 英寸 (22.7 厘米); Base: 宽 3 1/2 英寸 (8.9 厘米)
介绍（中）	《关于维摩诘论述的佛经》中一个决定性的插曲，在这块石碑的上半部分得到了戏剧性和复杂的处理。场景（辩论）发生在风吹的景观中，正如中心和背景中的树木所示。维摩诘（魏摩）坐在右边的窗帘和流苏亭子里，有十四个人影;文殊菩萨由三十名侍从陪同。站在中间两棵树的两侧是僧侣Shariputra和一个女性形象，他们共同代表了场景最戏剧性的时刻：Shariputra将自己变成一个女人，然后变回他的原始形式，以展示性别或任何其他存在状态的无常和无关紧要 - 这是佛经的要点之一。这也是博学的维摩诘菩萨击败智慧菩萨的众多时刻之一。在辩论现场上方，一尊佛像坐在由两位菩萨参加的柱形壁龛中;在下方，两名僧侣跪在一个精致的香炉的两侧，该香炉由一对女像支撑。站在守护者和香炉之间的两个人物——一个拿着一只鸟，另一个拿着头骨——是中国佛教雕塑中的标准形象，代表了两个印度苦行僧。石碑正面长而深奥的铭文表明，它是由赫连子月（约501-573年）领导的虔诚协会委托的，赫连子月跪在上排人物的正中央。他是一位罕见的捐赠者的例子，他的名字既在佛教艺术作品上被提及，又在中国历史著作中被识别。他的家族包括最初居住在鄂尔多斯地区的一个部落的酋长。在公元五世纪，这个氏族的成员被并入或可能与统治的北魏王朝结婚。北魏解体后，赫连子月受命统领一批被征服的叛军，定居河南北部。从石碑正面取下的许多拓印使其表面明显变暗。石碑的这一面很可能在其历史的某个时刻被重新雕刻，一些象征性肖像的尴尬渲染面孔以及支撑顶部香炉的莲花基座等细节证明了这一点。石碑（29.72）基座（30.76.302）图（1982.200）
介绍（英）	A decisive episode from the Sutra on the Discourse of Vimalakirti is given dramatic and complex treatment on the upper half of this stele. The scene (a debate) takes place in a windblown landscape, as indicated by the trees at center and in the background. Vimalakirti (Weimo) sits in a curtained and tasseled pavilion at right, attended by fourteen figures; Manjushri (Wenshu) is accompanied by thirty attendants. Standing to either side of the two trees at center are the monk Shariputra and a female figure, who together represent the scene's most dramatic moment: Shariputra transforms himself into a woman and then changes back to his original form to demonstrate the impermanence and irrelevance of gender or any other state of being—one of the main points of the sutra. This is also one of the many moments in which the learned Vimalakirti trounces the Bodhisattva of Wisdom. Above the debate scene, a Buddha sits in a columned niche attended by two bodhisattvas; below, two monks kneel to either side of an elaborate incense burner that is supported by a pair of caryatids. The two figures standing between the guardians and the censer-one holding a bird, the other a skull-are standard images in Chinese Buddhist sculpture and represent two Indian ascetics. The long and exceptionally abstruse inscription on the front of the stele indicates that it was commissioned by a devotional society headed by Helian Ziyue (ca. 501–573), who is shown kneeling just right of center in the upper row of figures. He is a rare example of a donor whose name is both mentioned on a work of Buddhist art and identifiable in Chinese historical writings. His family included the chieftain of a tribe originally based in the Ordos region. In the fifth century members of this clan were incorporated into, or possibly married into, the ruling Northern Wei dynasty. After the dissolution of the Northern Wei, Helian Ziyue was placed in charge of a group of subjugated rebels and settled in northern Henan province. The many rubbings taken from the front of the stele have left its surface noticeably darker. It is likely that this side of the stele was recarved at some point in its history, as evidenced by the awkwardly rendered faces of some symbolic portraits and in details such as the lotus pedestal supporting the incense burner at top. Stele (29.72) Base (30.76.302) Figure (1982.200)