拍賣筆記 vol.177 蘇富比香港：北周至隋石灰石雕佛首像 - A Northern Zhou Dynasty Limestone Head Of Buddha

北周五佛的直視感，體量巨大，傳承明確。北周的佛像有復古之風，恢復北魏早期的滂薄，可惜在北周即將一統天下的時候，北周的君主突然辭世，前進的車輪戛然而止。

北周至隋 石灰石雕佛首像

Session begins in

May 7, 10:45 AM CST

Estimate

2,800,000 - 6,000,000 HKD

40 cm

北周佛首：Northern Zhou to Sui Dynasty Buddha Head

0:00

來源

哈特曼伉儷收藏，紐約，1974年或更早

明尼蘇達藝術博物館（現明尼蘇達美國藝術博物館）收藏，購於1974年1月

禮瀛東方藝術，台北，1996年

展覽

《佛雕之美：北朝佛教石雕藝術》，歷史博物館，台北，1997年，編號054

出版

《藝術家》，台北，1997年9月，頁239

草千里，《中國古代佛像》，杭州，2004年，頁76

此尊佛首為碩大圓雕，可知原像身量魁偉。佛面開臉飽滿，杏目微啓，彎眉長舒，眉間毫相，雙頰豐潤，閉唇含笑，法相端麗絕塵。頭頂螺髮細密，肉髻低平，與寬碩耳垂相得益彰，尤顯佛陀福慧具足。綜觀此像，神韻敦厚渾樸，既改北魏「秀骨清像」之遺風，又開隋唐豐美氣質之先河，為北周至隋造像典範。

北周（557-581年）由鮮卑宇文氏建立，定都長安，577年滅北齊後統一北朝，581年被權臣楊堅（隋文帝，581-604年在位）推翻，而後隋朝（581-618年）建立，中國走向統一。北周至隋，光景匆匆，其間佛教藝術承上啟下，別有風貌。論形制，北周造像汲取印度笈多王朝（約319-550年）風格，多作圓雕，像體高大，佛首螺髮尤爲笈多藝術之典型。據常青研究，北周造像有肉髻低平、腮頰圓胖、五官集中等特徵，細看此尊，皆可對應，詳見〈北周長安佛教藝術模式及其源流〉，《美術史研究集刊》，第49期，2020年，頁18。

西安市灞橋區灣子村出土五尊立佛，均高約2米，因記大象二年（580年）乃知造於北周，世稱「北周五佛」，現藏西安碑林博物館，可作北周造像斷代標準。比五佛之一爲例，開臉、螺髮、五官均與此尊相類，錄《長安佛韻：西安碑林佛教造像藝術》，頁88-89；再比館藏立像一尊，亦顯著相似，斷代北周至隋，同錄前述出處，頁104-105。另比一佛首像，除上述各處頗似，眉間毫相亦同，斷代為隋，藏中國國家博物館，北京。

海外館藏中亦可參考立佛一尊，尺寸較小，諸般皆似，佛首後枕處開一方形孔洞，或榫接原龕，與此尊雷同，藏東京國立博物館，東京，藏品編號TC-20；該館將其斷為隋代，而國立文化財機構藏品綜合檢索系統則載北周至隋。

關於北周與隋代佛教造像的常見問題集

Q1：北周（公元557–581年）佛教造像有何典型特徵？北周時期的佛像風格呈現出對早期北魏雄渾風格的回歸，擺脫了北魏晚期「秀骨清像」的瘦削審美。此時的佛像多呈大體量、面龐飽滿、眼形修長呈杏仁狀，眉弓優雅拱起，嘴角帶有含蓄的微笑。尤為重要的是，其造像風格深受印度笈多（Gupta）藝術影響，尤其體現在比例寬大與螺髮的表現（多為低伏平扁的肉髻）。此外，面部五官較為集中，兩頰圓潤，眉眼之間距離相對接近，也是此時期的重要特徵。

Q2：北周雖政權短暫，對中國佛教藝術的發展有何影響？儘管北周政權僅存二十餘年，卻在中國佛教藝術的發展中擔任過渡的重要角色。它既承襲北魏的雄渾風範與異域元素，又為隨後隋唐盛世中「豐滿圓潤」的審美取向鋪墊了風格基礎。北周政權的突然終結，使這一發展脈絡一度中斷，為隋朝的統一與藝術復興留下伏筆。

Q3：印度笈多王朝對北周佛教造像有何影響？笈多風格對北周造像影響深遠。具體表現在雕像整體比例的擴大、形體的渾圓，以及一些具體圖像語彙的引入，如螺髮式肉髻與對圓雕（round sculpture）的偏好，顯示北周對異域藝術形式的高度吸納與再創。

Q4：此尊石灰岩佛首如何體現北周至隋初過渡期的藝術風格？此佛首尺寸巨大，顯示原本屬於一尊宏偉佛像。其豐盈圓潤的面容、溫和祥和的表情、修長杏仁眼與低伏的肉髻，均體現了由北魏晚期向隋唐時期轉變的藝術語境。整體形制既保留北魏雄莊之氣，又已呈現隋唐時期柔和飽滿的審美取向，是典型的過渡期作品。

Q5：「北周五佛」有何學術意義？「北周五佛」為西安出土的重要佛教造像組群，年代確切可至公元580年，是北周造像風格的重要標尺。其佛像特徵，如面相、肉髻與衣紋等，與本佛首高度一致，提供關鍵比較依據，有助於此件佛首的準確斷代與歸屬。

Q6：本佛首如何成為連接北魏與唐代造像風格的橋樑？本佛首綜合了北魏與唐代風格。其規模與肅穆之感延續北魏初期之風，而面部的圓潤飽滿、溫和含笑則預示著隋唐審美之趨勢。這種「莊嚴中帶溫潤」的過渡語彙，正是北周至隋初佛教藝術中最具代表性的特質。

Q7：此佛首為何可確定為北周至隋代（公元557–618年）之作？本佛首在造型與細節上與北周雕像風格一致：低伏的肉髻、飽滿的面頰、集中的五官配置均為該時期特徵。與如「北周五佛」等具確切紀年的造像相較，風格高度吻合。其介於北魏瘦削與唐代圓厚之間的形貌定位，亦符合北周至隋初的過渡特徵，提供明確的斷代依據。

Q8：此佛首的來源與展覽紀錄有何重要性？此佛首具良好來源，曾由Alan 與 Simone Hartman 伉儷、明尼蘇達藝術博物館及李寅東方藝術等機構收藏，並於1997年在台北《北朝石雕佛像之華彩》特展中展出，亦見諸多部專著出版。詳實的收藏與展覽紀錄不僅有助於確認真偽與年代，更為學術研究提供可靠依據，亦大幅提升其藝術與市場價值。

Session begins in

May 7, 10:45 AM CST

Estimate

2,800,000 - 6,000,000 HKD

40 cm

A Very Rare Limestone Head Of Buddha, Northern Zhou - Sui Dynasty

Provenance

Collection of Alan and Simone Hartman, New York, prior to 1974.

Collection of the Minnesota Museum of Art (now the Minnesota Museum of American Art), acquired in January 1974.

Li Yin Oriental Art, Taipei, 1996.

Literature

Artist Magazine, Taipei, September 1997, p. 239.

Cao Qianli, Zhongguo gudai foxiang / Ancient Chinese Buddhist Sculptures, Hangzhou, 2004, p.76.

Exhibited

The Splendour of Buddhist Statuaries: Buddhist Stone Carvings in the Northern Dynasties, Museum of History, Taipei, 1997, cat. no. 054.

Catalogue Note

The large size of the present head is indicative of what once must have been a grand and imposing figure. Exceptionally carved with a rounded, full face accentuated with almond-shaped eyes and gently upturned lips, all below gracefully arched brows and an urna, the current head is a superb sculptural example from the Northern Zhou to Sui dynasty that arguably bridges the aesthetics of the Northern Wei and Tang dynasties.

The Northern Zhou dynasty (557-581) was founded by the Xianbei Yuwen clan and established its capital in Chang’an. After conquering the Northern Qi dynasty in 577, the Northern Zhou dynasty unified northern China but was overthrown in 581 by Yang Jian (Emperor Wen of Sui, r. 581-604) who founded the Sui dynasty (581–618 CE) and reunified China. Although the transitional period between Northern Zhou and Sui was short-lived, it marked a significant phase in the evolution of Buddhist art, particularly sculpture, bridging earlier styles and later developments with distinctive characteristics.

Stylistic influences from the Gupta dynasty of India (c. 319-550) are evident in Northern Zhou dynasty Buddhist sculptures, such as the large proportions of the figures and even details such as the coiled ushnisha. It has been suggested by Chang Qing that Northern Zhou dynasty Buddhist sculptures are often characterised by a low ushnisha, rounded cheeks, and closely spaced facial features—all of which are evident in the present example. For more information, see Chang Qing, ‘The Model of Buddhist Art from Northern Zhou (557~581 CE) Chang'an Area and Its Transmission’, Journal of Art History Studies, no. 49, 2020, p. 18.

The ‘Five Buddhas of Northern Zhou’, each measuring approximately 2 metres in height, were unearthed in Wanzi village in Xi’an and are now preserved in the Beilin Museum, Xi’an. Dated to the second year of the Daxiang period (580), they serve as important references to the Northern Zhou sculptural characteristics. The facial structure, ushinisha and facial features of the current head are similar to one of the Five Buddhas of the Northern Zhou, illustrated in Buddhist Sculpture in the Xi'an Beilin Museum, pp. 88–89. See another similar Northern Zhou - Sui dynasty standing figure also in the Beilin Museum, Xi’an, illustrated ibid., pp. 104-105. See also a Sui dynasty Buddha head in the National Museum of China, Beijing, which bears many similarities with the current piece, including the urna between the brows.

A similar but smaller standing figure of Buddha is preserved in the Tokyo National Museum, Tokyo, no. TC-20. Like the current piece, it bears a small square mortise hole at the back of the head, possibly for attachment to a niche. It is dated to the Sui dynasty by the museum but the Northern Zhou – Sui dynasty in Japan’s National Institutes for Cultural Heritage database.

Frequently Asked Questions on Northern Zhou and Sui Dynasty Buddhist Sculpture

Q1: What are the defining characteristics of Buddhist sculpture from the Northern Zhou dynasty (557-581 CE)? Northern Zhou Buddhist sculptures exhibit a revival of the grand and imposing style reminiscent of the early Northern Wei dynasty, moving away from the more slender "showy bones and clear features" aesthetic of later Northern Wei. They often feature large, rounded figures with full faces, almond-shaped eyes, gently smiling lips, and gracefully arched brows. Notably, they show influence from the Gupta dynasty of India, particularly in the large proportions and the coiled ushnisha (though often depicted as low and flat). Other characteristics include rounded cheeks and relatively closely spaced facial features.

Q2: How did the short Northern Zhou dynasty impact the development of Buddhist art in China? Despite its brief existence, the Northern Zhou dynasty played a crucial transitional role in the evolution of Chinese Buddhist art. It bridged the styles of the earlier Northern Wei and the subsequent Sui and Tang dynasties. While embracing earlier monumentality and some foreign influences, it also laid the groundwork for the more丰满 (full and rich) aesthetic that would characterize the unified Sui and Tang periods. The sudden end of the Northern Zhou, just before its potential unification of China, marked a temporary halt in this artistic trajectory.

Q3: What influence did the Gupta dynasty of India have on Northern Zhou Buddhist sculpture? The Gupta dynasty's artistic style had a discernible impact on Northern Zhou Buddhist sculpture. This is particularly evident in the tendency towards larger, more voluminous figures and specific iconographic details such as the coiled hair of the ushnisha on Buddha's head. The adoption of rounded sculpture, as opposed to solely relief carvings, also suggests Gupta influence.

Q4: How does the featured limestone Buddha head exemplify the artistic trends of the Northern Zhou to Sui period? The limestone Buddha head embodies several key characteristics of the Northern Zhou to Sui transitional period. Its large size indicates a once monumental figure, echoing the earlier Northern Wei grandeur. The full, rounded face with its serene expression, almond-shaped eyes, and gentle smile represents a shift towards the fuller forms seen in the Sui and Tang dynasties, moving away from the more elongated features of the later Northern Wei. The low, flat ushnisha and the detailed coiled hair are also consistent with Northern Zhou and early Sui styles.

Q5: What is the significance of the "Five Buddhas of Northern Zhou" discovered in Xi'an? The "Five Buddhas of Northern Zhou," dated to 580 CE, serve as crucial benchmarks for understanding the stylistic characteristics of Northern Zhou Buddhist sculpture. Their consistent features, including facial structure, ushnisha, and other details, provide a reliable reference point for dating and attributing other sculptural works from this period. The featured Buddha head shares notable similarities with these five Buddhas, further solidifying its attribution to the Northern Zhou or early Sui dynasty.

Q6: How does the Buddha head bridge the artistic styles of the Northern Wei and Tang dynasties? The Buddha head exhibits a fascinating synthesis of earlier and later artistic trends. It retains the monumental scale and certain solemnity reminiscent of the Northern Wei, particularly its early phase. However, the increasing emphasis on rounded forms, the full cheeks, and the serene yet subtly joyful facial expression foreshadow the more opulent and worldly aesthetic that would flourish during the unified Sui and Tang dynasties. Thus, it acts as a stylistic bridge between these two important periods in Chinese Buddhist art.

Q7: What evidence supports the dating of the limestone Buddha head to the Northern Zhou to Sui dynasty (557-618 CE)? The dating of the Buddha head is supported by several factors. Stylistic analysis reveals characteristics consistent with Northern Zhou sculpture, such as the low ushnisha, rounded cheeks, and facial features, aligning with research on the period. Comparisons with securely dated Northern Zhou sculptures like the "Five Buddhas of Northern Zhou" and other museum examples from the Northern Zhou to Sui period reveal significant similarities in facial features, hair, and overall form. Furthermore, its stylistic position between the Northern Wei and Tang aesthetics reinforces this transitional dating.

Q8: What is the provenance and exhibition history of this particular limestone Buddha head, and why is this information important? The Buddha head has a well-documented provenance, having been part of the collections of Alan and Simone Hartman, the Minnesota Museum of Art, and Li Yin Oriental Art before being offered for auction. It was also exhibited in "The Splendour of Buddhist Statuaries: Buddhist Stone Carvings in the Northern Dynasties" in Taipei in 1997 and published in several scholarly works. This detailed history of ownership and exhibition is crucial as it establishes the object's authenticity and provides a record of its scholarly recognition and study over time. It adds to the understanding and value of the artwork.