此尊立像為鎏金銅蓮華手觀音，乃觀音化現之一。依銘文，知為東魏武定二年造。北魏（386-534年）瓦解後，東魏建朝，於534-550年間統治華北。
東魏蓮華手觀音造像雖存印度風格，然漢化程度較北魏更進一步，原犍陀羅影響淡去，如衣紋等處。北魏造像效法印度，線條曼麗，腰身婀娜，斜首微傾，反觀此尊，則直立挺拔。論工藝，亦屬卓絕，背光反側線刻坐佛一尊。
東魏武定二年（544年） 銅鎏金蓮華手觀音立像
拍賣開始
March 18, 09:00 PM HKT
Sotheby's New York
估價
300,000 - 500,000 USD
描述
武定二年十一月廿日故記上曲陽縣人郭政歎造像一區
狀況報告
Small areas of green and reddish encrustation, primarily focused on the legs and back of mandorla. Legs with a few longish scratches to surface. Expected wear to gilt surface overall.
出處
佐藤玄々（1888-1963）收藏
坂本五郎（1923-2016）收藏
香港蘇富比2016年10月5日，編號3212
著錄
Beatrice Chan，〈Reflection and Enlightenment: Chinese Buddhist Gilt Bronzes from the Jane and Leopold Swergold Collection at the Museum of Fine Arts, Houston〉，《Arts of Asia》，2018年1至2月，頁58-65
展出
《Reflection and Enlightenment: Chinese Buddhist Gilt Bronzes from the Jane and Leopold Swergold Collection》，休士頓美術館，休士頓，2017-2018年
佐藤玄玄收藏印「阿哞洞」、Eskenazi標籤
此尊立像為鎏金銅蓮華手觀音，乃觀音化現之一。依銘文，知為東魏武定二年造。北魏（386-534年）瓦解後，東魏建朝，於534-550年間統治華北。
東魏蓮華手觀音造像雖存印度風格，然漢化程度較北魏更進一步，原犍陀羅影響淡去，如衣紋等處。北魏造像效法印度，線條曼麗，腰身婀娜，斜首微傾，反觀此尊，則直立挺拔。論工藝，亦屬卓絕，背光反側線刻坐佛一尊。
對比一鎏金銅蓮華手觀音，543年造，藏東京國立博物館，錄於《龍泉集芳》，東京，1976年，圖版117。另比一東魏鎏金銅彌勒佛，536年造，端方（1861-1911年）舊藏，現存費城賓夕法尼亞大學考古學與人類學博物館（編號C355.1），見喜龍仁，《Chinese Sculpture from the Fifth to the Fourteenth Century》，紐約，1925年，圖版158。
再比較一北魏鎏金銅蓮華手觀音，日本和泉市久保惣記念美術館藏，錄於《六朝時代の金銅仏》，和泉市，1991年，編號48。仍有一例相似，存哈佛藝術博物館，Grenville L. Winthrop 捐贈，編號1943.53.81。另有多例重要收藏，圖見於松原三郎，《中国仏敎彫刻史論》，卷一，東京，1995年，圖版73、74，及86-88。
A Collecting Journey: The Jane And Leopold Swergold Collection
A magnificent inscribed gilt-bronze votive figure of Padmapani, Eastern Wei dynasty, dated wuding 2nd year, corresponding to 544
Session begins in
March 18, 09:00 PM HKT
Estimate
300,000 - 500,000 USD
Description
the splayed right side and reverse of the plinth with an inscription dated to the twentieth day of the eleventh month of the second year of Wuding (in accordance with 544), lacquer stand, Japanese wood box (5)
Height 6⅝ in., 16.8 cm
Provenance
Collection of Sato Gengen (1888-1963).
Collection of Sakamoto Gorō (1923-2016).
Sotheby's Hong Kong, 5th October 2016, lot 3212.
Literature
Beatrice Chan, 'Reflection and Enlightenment: Chinese Buddhist Gilt Bronzes from the Jane and Leopold Swergold Collection at the Museum of Fine Arts, Houston', Arts of Asia, January/February 2018, pp 58-65.
Exhibited
Reflection and Enlightenment: Chinese Buddhist Gilt Bronzes from the Jane and Leopold Swergold Collection, Museum of Fine Arts, Houston, 2017-2018.
Standing firmly yet elegantly before a flaming mandalora, this remarkable figure depicts Padmapani, the lotus-bearing manifestation of the bodhisattva Avalokitshvara (known in Chinese as Guanyin), as the embodiment of regal splendor and tranquility. Adorning the base of the stele, below an intricate carving of the Buddha, lies an inscription dating the piece to the Eastern Wei dynasty. Following the disintegration of the Northern Wei around 534 CE, the Eastern Wei took up the mantle of governing northern China. Although sculpture from this period retained some of the Indian influences of its predecessor, Eastern Wei figures like the present Padmapani have a number of more sinicized features. While the Gandharan-inspired works of the Northern Wei generally feature more rigid draping robes, curvilinear contours, slim bodies, and gently tilted heads, the current figure stands tall and straight.
Similar depictions of Padmapani from this period are rare. Compare another gilt-bronze figure of Padmapani, dated to 543, in the Tokyo National Museum, illustrated in Mayuyama, Seventy Years, Tokyo, 1976, pl. 117; and a related Eastern Wei gilt-bronze figure of Maitreya, dated to 536, formerly in the collection of Duanfang (1861-1911) and now in the collection of the University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia (accession no. C355.1), illustrated by Osvald Sirén, Chinese Sculpture from the Fifth to the Fourteenth Century, New York, 1925, pl. 158. Other similar gilt-bronze figures of Padmapani dated to the Northern Wei can also be found in the Kuboso Memorial Museum of Arts, Izumi, Japan, illustrated in Rikuchou Jidai No Kondoubutsu [Gilt-bronze Buddhist figures from the Six Dynasties], Izumi, 1991, cat. no. 48; preserved in the Harvard Art Museums, Cambridge, from the collection of Grenville L. Winthrop (accession no. 1943.53.81); and in various important collections of early Buddhist bronzes in Saburō Matsubara, Chūgoku Bukkyō chōkoku shiron [History of Chinese Buddhist sculpture], vol. I, Tokyo, 1995, pls 73, 74, and 86-88.
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