Page 102 - Bonhams Auction Images of Devotion Oct. 2 2018

43 ⁕
A GILT COPPER ALLOY FIGURE OF PADMAPANI LOKESHVARA 銅鎏金蓮華手觀音像
TIBET, CIRCA 1400 西藏，約1400年
With inset turquoise, coral, and lapis. 鑲嵌綠松石、珊瑚、及青金石。
Himalayan Art Resources item no.61740 喜馬拉雅藝術資源網61740號
55 cm (21 3/4 in.) high (including lotus stem); 含底端蓮莖：高55釐米(21 3/4 英吋)
51 cm (20 1/8 in.) high (excluding lotus stem) 不含底端蓮莖：高51釐米(20 1/8 英吋)

HK$16,000,000 - 20,000,000 16,000,000 - 20,000,000 港元

This refined gilded sculpture of standing Padmapani Lokeshvara 此尊蓮華手菩薩立像造於西藏，其優美的姿態則傳承自一種境外古老
follows a foreign, ancient mode of representing the bodhisattva 的菩薩造像方式。這種以銅鑄造的立式菩薩像，以來自加德滿都谷地
imported to Tibet. Itinerant Newari craftsmen from the Kathmandu 的內瓦爾族匠師的作品最為人稱道。內瓦爾族人世代相傳的高超工藝
Valley achieved the most accomplished renditions of the standing 聞名亞洲內外。據記載，西藏供養人就常出資邀請內瓦爾匠師入藏完
bodhisattva form in cast bronze. Renown throughout Asia, this ethnic 成重要藝術作品，例如丹薩替寺中著名的吉祥多門塔，以及薩迦派和
group passed artistic traditions and expertise between generations 鄂爾派的唐卡系列等。十五世紀初期，藏中地區經濟繁榮，人民信仰
of masters. Tibetan patrons commissioned Newars for major artistic 虔誠，而此件傑出的蓮華手菩薩便是在這樣的時代背景下誕生，完美
projects, recorded, for instance, in the tashi gomang stupas of 地融合了內瓦爾與西藏本土審美特色，代表著西藏立式菩薩像中的巔
Densatil monastery, and the thangka sets of Sakya and Ngor. The 峰之作。
present sculpture arises from such circumstances, following the
ascent of wealth and patronage in Central Tibet around the beginning 觀音菩薩，意為「觀察世間音聲覺悟有情」。此尊像垂目微笑，右手
of the 15th century. Combining Newari and Tibetan aesthetic 掌向外結與願印的形象，恰好體現出觀音菩薩悲憫眾生的內在精神氣
proclivities, this sculpture represents the pinnacle of the standing 質。慈悲是佛教修行的核心，觀音菩薩則是圓滿無礙大悲心的典範。
bodhisattva form in Tibetan art. 此尊觀音自蓮花中升起，象徵著佛理教化中所說眾生皆可如清蓮出淤
泥而不染一般，於濁世中見自佛性。作為觀音的一種身形，蓮華手菩
Avalokiteshvara, “The Lord Who Looks Down”, does just so 薩手持蓮花的造型寓意與自蓮花中升起的寓意相呼應，象徵著菩薩誓
with a kind smile and a gesture of charity with his right hand. 願奉獻自身無窮力量救渡眾生。
Avalokiteshvara is the paradigm of perfected compassion, one
of the key virtues a practitioner must develop towards his or her 常見於立式菩薩像中微傾的站姿，袒露的上身，柔軟的腰肢和下身輕
own buddhahood. The master Newar depicts Avalokiteshvara 薄的裙裳等造像特徵最早可追溯到印度造像的黃金時期 ─ 笈多王朝
arising from a lotus flower, an ubiquitous Buddhist symbol for any 時期（西元四至六世紀），例如藏於新德里國家博物館中著名的鹿野
being’s potential to rise from murky waters and realize their innate 苑蓮華手菩薩像便是一早期範例（參見《Across the Silk Road》，北
buddhahood. This form of Avalokiteshvara, known as Padmapani 京，2016年，頁160-1，圖70）。印度造像藝術發展至尼泊爾後，內
Lokeshvara, ‘The Lotus Holder’, echoes such symbolism, for by his 瓦爾工匠以這一造像傳統為基礎進行再創作，使立像腰肢更為纖細，
hand help is provided toward enlightened salvation. 腿部肌肉更為發達，最終於13世紀形成了獨特的早期馬拉王朝風格。
紐約魯賓博物館中亦收藏有一尊14世紀尼泊爾蓮華手菩薩立像 （參
The leitmotif of the standing bodhisattva in a limber pose, with a 見《魯賓精品集》，紐約，2014年，頁80-1），相比之下，魯賓博
bare torso, supple waist, and sheer lower garment, traces back to 物館藏的尼泊爾造像更注重人物身體構造，而此尊西藏作品則更強調
the golden age of Indian sculpture in the Gupta period (4th-to 6th- 表面澄亮的鎏金，繁密絢麗的紋飾以及璀璨的寶石鑲嵌等裝飾細節。
centuries). A famed standing Padmapani from Sarnath in the National
Museum, New Delhi exemplifies this root (cf. Across the Silk Road,
Beijing, 2016, pp.160-1. no.70). The Newars adopted and preserved
this tradition, adding exaggerated narrow waists and swollen thighs
by 13th-century and the establishment of the early Malla dynastic
style. A consummate Nepalese example of standing Padmapani
from 14th-century is held in the Rubin Museum of Art (Collection
Highlights: The Rubin Museum of Art, New York, 2014, p.80-1). By
contrast, the Rubin’s Nepalese example shows more preoccupation
with the figure’s modeling, whereas the present bronze stresses a
more densely gilded, patterned, and inset surface.

100 | BONHAMS