拍賣筆記 vol.379 蘇富比香港2026：51.2萬港元售出，秦峰男，北齊石雕飛天足 - Sotheby’s HK, Mineo Hata, A Stone Fragment Of An Aspara’s Foot, Northern Qi Dynasty, Sold for HKD512,000

6888號買家，40萬落槌，51.2萬港元售出。

參考王秋生先生財新文章《尺度之美：北齊白石伎樂飛天》，此類大尺寸的飛天足部殘片，完整形象高度應在50–80厘米之間，其所配主尊佛像極可能為體量宏大的史詩級大佛，因此尤為重要的一件雕塑作品。

Referring to Wang Qiusheng’s article “The Beauty of Scale: Northern Qi White Marble Apsaras” published in Caixin, a large apsara foot fragment of this size would originally have belonged to a complete figure measuring approximately 50–80 cm in height. Such an apsara would have been paired with a monumental principal Buddha of truly epic proportions, making this an especially important and significant sculptural work.

北齊　石雕飛天足

A stone fragment of an aspara’s foot, Northern Qi dynasty

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2026 May 5, 02:00 PM HKT

飛天（又稱伎樂天、乾達婆或香音神）是佛教藝術中常見的天人形象，源自印度神話，負責在佛國世界奏樂、散花、供養，象徵歡樂、祥瑞與護持佛法。在中國北朝佛教造像中，飛天多以高浮雕或透雕形式出現於佛龕背屏上方、窟頂藻井或造像碑邊飾，周身環繞帔帛、凌空飛舞，動感強烈，是北齊佛教藝術「秀骨清像」向豐滿圓潤風格轉變的典型代表。

北齊風格：北齊石雕（尤其是河北曲陽白石或青州系石刻）以細膩柔美、肌肉感強著稱。飛天足部常刻劃細緻，足形優雅、足趾圓潤，帔帛或裙擺自然飄揚，體現「曹衣出水」般的輕薄衣紋感。此件雖為殘片，但足部動態與細節仍能反映當時高超的寫實與裝飾技巧。

尺寸：20 cm 的單一足部殘片在飛天造像中屬較大型例。飛天在完整造像或碑中通常遠小於主尊佛像（主尊常數十至數百厘米，飛天僅主尊的1/10左右）。10 cm 以上已算可觀，20 cm 足部暗示原飛天全身可能超過50–80 cm，屬中大型背屏式或龕頂飛天，來自較重要的寺廟或皇家造像工程。這種尺寸的殘片稀有，具較高收藏與研究價值，能幫助復原北齊大型石刻群像的原貌。

北齊是中國佛教造像的高峰期之一，融合印度笈多風格與中原審美，飛天形象尤為生動優美。此類足部殘片雖小，卻是理解北朝石刻程式、工藝與宗教藝術的重要物證，深受早期佛教藝術收藏家青睞。

A Stone Fragment of an Apsara’s Foot, Northern Qi Dynasty

The Northern Qi period (550–577 CE) represents one of the artistic peaks of Chinese Buddhist sculpture, characterized by a harmonious blend of Indian Gupta influences and indigenous Chinese aesthetics.

Apsaras (feitian), also known as celestial musicians or heavenly attendants, are graceful divine beings who fly through the Buddhist paradises, playing music, scattering flowers, and offering homage to the Buddha. They frequently appear in high relief on the upper sections of Buddha niches, stele back screens, or cave ceilings, their flowing scarves and dynamic poses creating a sense of ethereal movement and celestial joy.This finely carved stone fragment depicts the foot of an apsara.

Measuring a substantial 20 cm, it is a relatively large example among surviving apsara fragments. The delicate carving captures the elegant form and refined details typical of Northern Qi sculpture, reflecting the period’s emphasis on graceful lines, soft drapery, and naturalistic anatomy. Such a sizable fragment suggests it originally belonged to a medium-to-large-scale apsara figure within a significant temple ensemble or stele, likely positioned above a principal Buddhist deity.

Preserved with a custom wood stand and Japanese wood box, this rare Northern Qi stone fragment offers valuable insight into the sophisticated carving techniques and iconographic programs of mid-6th century Chinese Buddhist art. It stands as an exquisite testament to the refined beauty and spiritual elegance of the Northern Qi dynasty.