Page 104 - Bonhams Auction Images of Devotion Oct. 2 2018

Tibetan aesthetic proclivities towards rich surfaces are conveyed in its 西藏造像對華麗造型的偏好在其特有的上師肖像中表現尤為明顯。 在
unique tradition of portrait sculpture. Early portraits such as numerous 早期造像中，例如諸多13世紀銅鎏金吉天頌恭仁千貝（1143-1217）像
c.13th-century, heavily gilded sculptures of Jigten Sumgon Rinchenpel 就皆以厚重的鎏金，脈絡清晰的福田衣及珠鏈紋裝飾令人印象深刻。參
(1143-1217) dress him in a precisely articulated patchwork robe with 見供奉于青海賽康寺內的一件精美仁千貝造像（出版於施羅德，《西藏
finely beaded hems. A prime example survives in Serkhang monastery, 佛教雕塑》，卷二，香港，2003年，頁1036-7，圖258B），在此件造
published by von Schroeder, Buddhist Sculptures in Tibet, vol.2, 像中，仁千貝端坐於一個以無數半寶石精工鑲嵌的寶座上，同時兩側站
Hong Kong, 2003, pp.1036-7, no.258B. He is presented before a 立的菩薩周身也有尺寸醒目的綠松石鑲嵌其間。然而這尊富麗華美的西
throne encrusted with copious semi-precious stones and almost no 藏造像與丹薩替寺中的吉祥多門塔卻都是由仁千貝請來的內瓦爾匠師創
inch left unornamented. He is flanked by standing bodhisattvas that 作完成（Zaja & Proser編，Golden Vision of Densatil， 紐約，2014年，
demonstrate little concern for an elaborate pose, while being studded 頁184）。內瓦爾匠師在馬拉王朝時期就已熟練掌握鑲嵌技藝，但西藏
with oversized pieces of inset turquoise. Rinchenpel invited Newari 富裕又虔誠的供養人明顯對這一奢華的工藝更為熱衷，使其在西藏造像
craftsmen to create his sculptures and his visionary tashi gomang 中得到更大發揮，取得更高的藝術成就。
stupas (Czaja & Proser (eds), Golden Vision of Densatil, New York,
2014, p.184). Newari craftsmen were familiar with setting stones into 另外，此件作品中精美絕倫的錯銀工藝也明顯異於尼泊爾造像中較為古
sculpture within the Malla tradition, but the Tibetan patron clearly 樸的錯銀樣式。細看菩薩寶冠、項鏈、腰帶及自左肩纏繞至腿部醒目
showed greater enthusiasm. 的聖帶，裝飾其間的銀質珠鏈連續不斷又顆顆分明，工藝十分考究。早
期的西藏造像中多見貴金屬鑲嵌，例如克利夫蘭藝術博物館藏的一尊
The present sculpture’s use of silver inlay is also quite distinct from 十二至十三世紀帕木竹巴（1110-70）就是一個很好的詮釋（館藏編號
purer Nepalese examples. The artist has incorporated beaded silver 1993.160）。造像中，帕木竹巴的雙眼，牙齒，衣緣，以及金剛座下的
ware seamlessly in the Avalokiteshvara’s crown, necklace, belt, 護法坐騎等均以白銀鑲嵌，裝飾性極高。西藏人對貴金屬鑲嵌技術的喜
and most prominently in the sacred thread (ratnopavita) traversing 愛源於他們對早期克什米爾和帕拉造像的崇拜，然而尼泊爾匠師則較少
his torso and thighs. Again, earlier portrait sculpture conveys the 採用這一技法。克利夫蘭藝術博物館中另藏有一尊與此件蓮華手菩薩同
Tibetan preference for inlaid precious metals, exemplified in a 12th- 時期的重要尼泊爾文殊菩薩像（館藏編號1964.370），但此文殊菩薩像
/13th-century portrait of Phagmodrupa (1110-70) in the Cleveland 中就不見西藏式的繁複金屬鑲嵌。
Museum of Art (1993.160). Phagmodrupa’s eyes, teeth, and hems
are all inlaid with silver, as are the guardians of his throne. Tibetan’s 「西藏文藝復興」時期，大量湧入的善款成就了許多豐碑似的建築與藝
fondness for inlay almost certainly stemmed from their appreciation 術品。此件傑作完美融合了內瓦爾造像傳統與西藏本地審美風格，整體
for fine Kashmir and Pala bronzes. However, it was little adopted in 造型經典優雅、韻律十足，細微處精密的花紋簪刻與鑲嵌工藝又精彩紛
Nepal, demonstrated by its absence from a large gilded bronze of 呈、富麗華貴，無疑代表了同時期造像的最高藝術水準。美國巴爾的
Manjushri also in the Cleveland Museum of Art (1964.370), roughly 摩的瓦爾特藝術博物館中藏有一尊極為類似的蓮華手菩薩像，對比兩尊
contemporaneous with the present Padmapani. 的相似程度可推測兩尊是同一批匠師為同一個寺院創作而成（館藏編號
54.3098; Pal，《Desire and Devotion》，巴爾的摩，2001年，頁295
Thus, marrying the Newar’s classical, elegant, rhythmic, and ，171號；圖1）。
sensuous modeling with the Tibetan preference for more engraved,
inlaid, and embellished surfaces, this masterpiece represents their 來源
perfect synthesis at a moment frequently described as ‘Tibet’s Benny Rustenberg，香港，1998年
renaissance’, when great monuments are attempted and art is 歐洲私人珍藏
met with great wealth. The Walters Art Museum, Baltimore holds a
closely related Padmapani almost certainly by the same set of artists
for the same monastic project (54.3098; Pal, Desire and Devotion,
Baltimore, 2001, p.295, no.171;fig.1).

Provenance
Benny Rustenberg, Hong Kong, 1998
Private European Collection

Fig.1
Bodhisattva Avalokiteshvara
Tibet, ca. 1400
54.3098
The Walters Art Museum, Baltimore
圖一
觀世音菩薩立像
西藏，約1400年
館藏編號54.3098
沃爾特斯藝術博物館，巴爾的摩

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