Page 136 - Bonhams Auction Images of Devotion Oct. 2 2018

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A GILT COPPER ALLOY FIGURE OF BUDDHA 銅鎏金佛陀坐像
TIBET, 15TH CENTURY 西藏，十五世紀
With inset turquoise, coral, and lapis. 佛身鑲嵌綠松石、珊瑚、及青金石。
Himalayan Art Resources item no.68458 喜馬拉雅藝術資源網68458號
33.5 cm (13 1/4 in.) high 高33.5 釐米（13 1/4 英吋）

HK$8,000,000 - 12,000,000 8,000,000 - 12,000,000 港元

The master artist of this sumptuous gilded sculpture of Buddha 此尊造像的匠師透過璀璨華美的袈裟極致展現了佛陀嚴身裝束圓
revels in the visual practice of representing Buddha’s perfection 滿莊嚴。佛陀右肩上綻放高雅華貴袈裟褶紋，雙腿前扇形衣褶稜痕
through an ideal body wrapped in the finest conceivable garments. 明顯。衣緣鏨刻花草紋，鏨工精細，錦地紋刻劃流暢，由背後向胸
Extravagant pleats fan out before Buddha’s ankles and over his right 前延伸。工匠以鑲嵌的寶石點綴盛開的錦地紋，錦上添花，別具特
shoulder in luxurious folds with engraved patterns. The robe’s hems 色。造像的手腳姿態優美，手腳心更有嵌寶法輪。此件光耀暐曄的
are most distinctive; rather than incise foliate patterns, the sculptor 釋迦牟尼像無疑是為特殊的供養人而作。
has molded a vine of flowers with inset semi-precious stones for
blossoms. They run across the delightful contours of a well-sculpted 為了這位供養人，匠師竭心盡力地創作出富有個性的佛陀肖像。與
chest. Buddha’s hands and feet are elegantly modeled and, sparing 一般制式化地塑造佛陀面相豐潤、鼻樑尖挺以及嘴唇厚實的慣例截
no detail, feature raised chakras at their centers. From these 然不同，此尊造像相寬臉碩、下顎平齊、彎眉鳳眼、鼻樑短扁、顴
distinguished features, there can be little doubt this magnificent 骨高聳、還帶有明顯的美人尖及樸拙欣悅的笑容。已然成就出一尊
image of Buddha was a special commission. 容貌與眾不同的佛像，氣宇軒昂且超脫俗世煩惱。

For his patron, the artist also endeavored beyond a generic modeling 此尊造像衣緣褶邊鑲嵌的靈感來自尼泊爾，而流暢生動的衣摺刻劃
of Buddha’s face to produce a distinctive portrait. Unlike formulaic 則是沿襲中原風格。正如Weldon與Casey Singer所述，”沿著佛陀
examples, with long noses, puckered mouths and ovoid faces, 雙腿下垂的衣袍時薄時厚，流暢自然; 以鏨刻的線條表現衣褶。這
Buddha’s face here is broad, with a flat chin, short nose, prominent 樣襞褶簡練、剛健有力的衣摺處理方式由中原傳入西藏，可見於元
widow’s peak, and wide smile. The eyes are finely modeled with 代及永樂時期的造像中”（參見Weldon and Casey Singer，《 The
undulating lids, crisply delineated above the high cheekbones. The Sculptural Heritage of Tibet》，倫敦， 1999年，頁112）。佛陀袈
result is a sculpture of Buddha with a rather unique countenance: 裟衣緣的裝飾處理與一尊大約同時期的銅鎏金噶瑪巴造像相似（參
commanding while blissfully detached from mundane concerns. 見 Uhlig，《On the Path to Enlightenment》，蘇黎世，1995年，頁
183-4，129號）。
As discussed by Weldon and Casey Singer, the artist has drawn on
Nepalese and Chinese aesthetic traditions for this sculpture’s special 著錄
robe. While the inset hem is inspired by Nepal, Weldon elaborates on David Weldon and Jane Casey Singer，《The Sculptural Heritage of
Chinese precedent in the articulated folds. “The fall of the robe along Tibet》，倫敦，1999年，112-3頁，23號。
the Buddha’s legs is indicated by subtle changes in volume; its folds
are indicated by deep, emphatic lines. The practice of modeling folds 展覽
of cloth in this manner was brought to Tibet from China, and can be Casting the Divine: Sculptures of the Nyingjei Lam Collection，魯賓
seen in Yuan period sculpture and in sculpture of the Yongle period” 藝術博物館，紐約，2012年3月2日 - 2013年2月11日。
(see Weldon and Casey Singer, The Sculptural Heritage of Tibet, The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam
London, 1999, p.112). The decorative scheme of this sculpture’s Collection，阿什莫林博物館，牛津，1999年10月6日 - 12月30日。
hemlines closely resembles that of a gilt bronze Karmapa from the
same approximate period (see Uhlig, On the Path to Enlightenment, 來源
Zurich, 1995, pp.183-4, no.129). 菩薩道收藏

Published
David Weldon and Jane Casey Singer, The Sculptural Heritage of
Tibet: Buddhist Art in the Nyingjei Lam Collection, London, 1999,
pp.112-3, no.23.

Exhibited
Casting the Divine: Sculptures of the Nyingjei Lam Collection, Rubin
Museum of Art, New York, 2 March 2012 - 11 February 2013.
The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam
Collection, Ashmolean Museum, Oxford, 6 October - 30 December
1999.

Provenance
The Nyingjei Lam Collection

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