Page 31 - Christies Alsdorf Collection Part 1 Sept 24 2020 NYC

The iconography, representational style, and even religious function of the 金剛手菩薩，又稱執金剛神，是菩薩之示現化身，集圖像、
bodhisattva Vajrapani has changed considerably over the centuries of South Asian art, 表現與功能之角色，作為南亞藝術的重要題材，千百年來形
in contrast to other deities whose iconography remained quite fixed. In his earliest 象變化多端，反之其他神祇則傾向亙古如一。金剛手菩薩外
representations from the ancient region of Gandhara, Vajrapani is depicted as a muscular 觀穩重老成，身形矯健，手執金剛杵，有說源自古希臘羅馬
elderly figure holding a double-lozenge-form vajra; such representations may have been 神像，當中希臘化風格的宙斯/朱比特，正手持霹靂王杖，
influenced by Hellenistic depictions of the Graeco-Roman deity, Zeus/Jupiter, who 與金剛杵所象徵的電光不謀而合。其後斯瓦特縣及喀什米
was also represented in similar form wielding a thunderbolt. In later images from the
爾地區出現另一版本，見金剛手菩薩一手垂撫旁者頭頂，那
Swat Valley and Kashmir, Vajrapani is shown in human form with his hand resting on
是童子形象的金剛化身，梵文稱「Vajrapurusha」。金剛手
the head of a smaller, anthropomorphized representation of the vajra, Vajrapurusha;
菩薩的藝術形象深入民心，對早期的尼泊爾藝術發展影響深
this depiction of Vajrapani had a profound influence on early Nepalese sculpture, and a
遠，與此同時，加德滿都谷地亦掀起崇拜「Vajrapurusha」的
cult of worship of Vajrapurusha in his own right developed in the Kathmandu Valley.
風氣。及至帕拉王朝（公元八至十二世紀），金剛乘佛教在
With the rise of Vajrayana Buddhism in Northeastern India in the beginning of the
印度北部大放異采，金剛手菩薩成為廣受膜拜的神祇，以忿
Pala Dynasty (8th-12th century), Vajrapani became a meditational deity, wrathful in
appearance, and such forms became prevalent in the Tibetan Buddhist tradition. The 怒相呈現，在藏傳佛教中廣泛流傳。金剛手菩薩之圖像與功
iconography of Vajrapani often overlaps with the Hindu deity, Indra, and it is likely 能，皆與印度教神明因陀羅形像相符，與大乘佛教之發展不
aspects of Indra were incorporated into the iconography and function of Vajrapani with 無關係。
the development of Mahayana Buddhism.
此尊金剛手菩薩立像作三屈式，手持金剛杵，是菩薩的人格
The present depiction of Vajrapani is represented as a bodhisattva in human form. He 化呈現。其造型與因陀羅相似，惟眉宇間之白毫可作判別。
stands in slight tribhanga, presenting the vajra in his lowered left hand. At the center 尼泊爾自古奉行多信仰制度，印度教與佛教並行不悖，兩教
of his forehead is a circular urna, distinguishing the present figure from a depiction 文化長期互滲，圖像合一之狀況固然不足為奇。
of Indra, who is often represented in similar format. In Nepal, where the Hindu and
Buddhist populations worshipped side by side, often with significant intersection of the 《故宮博物院文物珍品全集—藏傳佛教造像》載錄一相關例
two religions, the syncretism of the iconography of the two deities is not surprising. 子，香港，2003年，頁77，編號74。兩像尺寸、面相與形
象相若，三葉寶冠造型也頗為近似，惟該像所持之金剛杵直
Compare the present figure with a related image in the collection of the National
垂，本杵則橫置，可見尼泊爾造像形態紛陳，藝術風格千變
Palace Museum, Beijing, illustrated in Buddhist Statues in Tibet: The Complete Collection
萬化。
of Treasures of the Palace Museum, Hong Kong, 2003, p. 77, no. 74. The Palace
Museum example, roughly the same size as the present work, displays physiognomy Norton Simon基金會亦藏一例，載錄於U. von Schroeder著
and iconography similar to the Alsdorf example, including the characteristic tripartite 《Indo-Tibetan Bronzes》，香港，1983年，頁321，編號
crown. Illustrating the creative variation of Nepalese sculptors, the Palace Museum
82D，該像之面相描繪、托蒂款式、衣摺紋理、線條細節皆
example depicts Vajrapani holding the vajra vertically in contrast to the present work,
殊同本像，可證兩者之製作年代與地點相近。兩像之面型輪
where Vajrapani presents the vajra horizontally.
廓、眉目嘴唇，乃至眉心白毫，皆如出一轍。
Compare, also, with a figure, alternately identified as Manjushri Siddhaikavira,
Padmapani, or Ratnapani, at The Norton Simon Foundation (F.72.42.2), illustrated by
U. von Schroeder in Indo-Tibetan Bronzes, Hong Kong, 1983, p. 321, no. 82D. The
Norton Simon Ratnapani also displays physiognomy similar to the Alsdorf Vajrapani,
and the details of the dhoti, including the simple incising of the hem and the hanging
folds of drapery, evince a similar date and location of manufacture. The similarities
between the Norton Simon Ratnapani and the Aldsdorf Vajrapani can also be seen in
the representation of the face, with full, pursed lips, heavy-lidded and downcast eyes,
incised eyebrows and simple, circular, incised urna.

Nepal or Tibet; Bodhisattva Avalokiteshvara (?), 10th century;
Gilt-copper alloy, 13 ½ x 4 ⅞ in. (34.3 x 12.4 cm.)
© The Norton Simon Foundation
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