法相雄隆
南亚东南亚造像艺术专栏
南渚山房 刘冬
东南亚古代造像独立研究者
《南渚志》纪录片制片人
《Southeast asia buddhist art sumatra&java suculptre 2022》
东南亚佛像苏门答腊与爪哇雕塑，作者
黄岩博物馆《造像万千》
台州博物馆《金木荟萃》策展人
资深服饰配饰设计师
德国红点设计奖获得者
整体黑色火山灰皮壳，黑古包浆如碳有两类，一类如此尊硫化物附着均匀，细腻，手抚之柔滑如肌肤，皮壳下几无锈蚀，状态好；另一类附着硫化物颗粒堆叠，皮壳下锈蚀程度较深；这也是爪哇造像典型的皮壳特征之一，与其他亚洲地区铜造像皮壳相比，独具特色，非常有地区辨识度；
同时，此尊造像与印度阿旔陀石窟第5窟造像几乎一致，阿姆斯特丹国立博物馆馆藏铜底座银合金身躯的释尊说法像类似，南渚山房
Southeast asia buddhist art sumatra&java suculptre 2022图录里有辑录，以及雅加达博物馆馆藏一尊8-9世纪笈多风格释迦牟尼佛石雕亦如出一辙，由此我们判断此尊造像属于不会晚于9世纪晚期的中爪哇作品。
This statue presents a typical Gupta classical art style, and its accurate, close fitting and beautiful lines outline the young and strong Buddha's body. There are two types of black volcanic ash crust, black ancient wrapping paste, such as carbon. One type is so respectful that the sulfide is attached evenly and delicately, and the touch is as smooth as the skin. There is almost no rust under the crust, and the condition is good; The other is stacked with sulfide particles, and the rust under the crust is deep; This is also one of the typical shell features of Java statues. Compared with other copper statue shells in Asia, it is unique and highly recognizable;
uddha opened his face like a teenager, with a spire shaped bun, a full forehead, and a grin. This is one of the characteristics that Pan Asia likes to show, whether in early stone sculpture or bronze sculpture. The round flaky head light is close to the back of the head, and the inscription "", meaning "", is cast on the back of the head light. The shoulder of the full-length cassock is close to the body, the shoulder is stretched, the chest is wide and full, in an inverted triangle. The palm of the left hand half raised holds the corner of the cassock outwards, the ring finger is broken, the right hand knot comfort mark, the stable and strong legs are parallel and upright, still showing the structure of the knee. The front and back of the edge of the lower hem of the cassock are clearly layered, and the proportion of the upside down lotus platform is compact, Only the feet are taken over. In terms of overall proportion, it sets off the huge volume of the statue as a whole and gives people the aura of majesty;
At the same time, this statue is almost the same as the serial number statue of Cave 5 of Ahutta Grottoes in India. The serial number of the Metropolitan Museum in New York clearly shows that there is a heritage relationship. A Gupta style Sakyamuni Buddha stone sculpture from the 8th to the 9th century in the Jakarta Museum is also the same.
东南亚古代造像艺术
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