【精品推荐】掐丝珐琅佛造像

此像无论从造型、装饰还是工艺上看，都显示了极高的艺术品质，展现了清代宫廷雕塑艺术和工艺技术的鲜明特点。佛像题材——无量寿佛是清宫自康熙至乾隆普遍崇奉的题材；佛像端庄挺拔的造型是清宫尤其是康熙时期流行的造型样式；佛像衣饰是清宫流行的标准范式；佛像台座与背光的形式普遍流行于清宫，而它们采用的铜胎掐丝珐琅工艺亦为清宫擅长的工艺技术；佛像周身和背光上镶嵌的各色宝石更是宫廷艺术雍容华贵的真实体现。北京雍和宫和承德外八庙等地也保存有铜胎掐丝珐琅制作的佛像，但仅有数尊而已，数量十分有限，足见此类造像珍稀难得。但在现知同等材质和工艺的乾隆宫廷无量寿佛造像中，此像在体量、造型、装饰、工艺上明显优胜一筹，体量超常，造型优美，装饰繁复，工艺讲究，远非其他几尊造像可比，堪称乾隆宫廷铜胎掐丝珐琅造像中的精品和绝品。

This image shows high artistic quality in terms of shape, decoration and craft, and shows the distinctive features of qing Dynasty palace sculpture art and craft technology. The theme of Buddha -- The boundless longevity Buddha is the theme of the qing Dynasty from Kangxi to Qianlong. The dignified and upright figure of Buddha statue was a popular style in Qing Dynasty, especially in Kangxi period. The dress of Buddha statue was the standard pattern popular in Qing Palace. The forms of the pedestal and backlight of Buddha statues were popular in Qing Palace, and the enamel process of copper embossed wire cutting they used was also the technology that Qing Palace was good at. All kinds of gemstones inlaid on the whole body and backlight of Buddha statues are the true embodiment of the elegance and grace of court art. The Yonghegong Palace and the Eight Temples of Chengde Outside Beijing also have statues of Buddha made of enamel with copper embouchure, but there are only a few of them. The number is very limited, which shows that such statues are rare and rare. However, among the qianlong court immeasurable longevity Buddha statues of the same material and craft, this statue is obviously superior in size, shape, decoration and craft, with extraordinary size, beautiful shape, complicated decoration and exquisite craft, far from comparing with other statues, it can be regarded as the best and the best among the copper tire enamel statues of The Qianlong court.

另外，此像躯体修长，姿态挺拔，比起一般乾隆宫廷造像的体态明显舒展优美；面部刻画细腻生动，眼睛和嘴唇的刻画尤为形象，亦比一般乾隆宫廷造像的面相显得庄严美妙。这些优胜的特征似乎吸收了清代喀而喀蒙古造像的量度和对形象的精细表现，又似乎源自康熙造像的风格样式和注重细节的表现手法。如此来看，此像在立足于乾隆宫廷艺术的基础上，又吸收融合了多种艺术元素，从而展现出更加绚烂多彩的宫廷艺术风貌。

In addition, the body of this statue is slender, the posture is straight, compared with the general Qianlong court statues obviously stretch graceful; The facial features are exquisite and vivid, especially the eyes and lips, which are more solemn and beautiful than the ordinary faces of qianlong palace statues. These superior features seem to have absorbed the measurement of the Qa-Qa-Mongol statues and the fine expression of images in the Qing Dynasty, and seem to have originated from the style and style of Kangxi's statues and the way they paid attention to details. In this way, on the basis of qianlong's court art, this image absorbs and integrates a variety of artistic elements, thus showing more gorgeous and colorful court art style.