Page 148 - Bonhams Auction Images of Devotion Oct. 2 2018

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A GILT COPPER ALLOY FIGURE OF TSONGKHAPA 銅鎏金宗喀巴上師像
TIBET, CIRCA 16TH CENTURY 西藏，約十六世紀
Himalayan Art Resources item no.68479 喜馬拉雅藝術資源網68479號
19.5 cm (7 3/4 in.) high 高19.5釐米（7 3/4英吋）

HK$800,000 - 1,200,000 800,000 - 1,200,000 港元

Conveying an extraordinary sense of realism, this figure is one of the 此尊銅像栩栩如生，為藏傳佛教格魯派始祖宗喀巴上師（1357-1419）
finest known sculptural images of Tsongkhapa (1357-1419), founder 傳世最精美之造像。藝術家從既存之畫作及塑像中仔細揣摸上師之外
of the Gelug school of Tibetan Buddhism. The artist must have 形，精工致志，活現其神髓。宗喀巴上師之面相、雙手及雙足形態自
carefully studied the master’s physical characteristics from earlier 然而極盡精細，指甲指節巨細無遣；袈裟之刻畫技巧老練，厚重且富
paintings or sculptures, and successfully brought him to life with 有層次，並巧妙表現上師之圓渾腹部。
remarkable skill and dedication. Tsongkhapa’s face, hands and feet
are naturalistically modeled with a superb level of detail, including 宗喀巴上師深受藏民愛戴，常見於繪畫及造像。他既為精神領袖，亦
each nail and knuckle. Equally impressive is the sophisticated 是地位崇高之學者，相傳多位神明曾現身傳教，均被其記於著作之
representation of his robes, with thick layers subtly revealing his 中。其常見形象為手捻蓮花，上承一經一劍，亦即宗喀巴上師托世之
rotund belly. 文殊菩薩的特徵。

Je Tsongkhapa enjoys great popularity among Tibetans and is 一尊體量較小的可比造像載於Spink and Son Ltd.，《Light of
abundantly portrayed in paintings and sculptures. As both a spiritual Compassion，Buddhist Art from Nepal and Tibet》，1997年，頁
leader and highly respected scholar, he is believed to have received 24-5，圖12，後於紐約佳士得拍出（2010年9月14日，拍品66號）。
instructions from various deities in his visions, which he incorporated 兩者之外貌幾乎完全相同，其獨特之髮線、微笑垂目，以至略顯粗壯
in his writings. He is often depicted holding lotus flowers supporting 之軀幹皆然；其邊緣有繡紋且內外多層的袈裟亦為同款。
a sword and a sutra, the attributes of the Bodhisattva Manjushri, of
whom Tsongkhapa is revered as his incarnation. 著錄
David Weldon與Jane Casey Singert，《The Sculptural Heritage of
A closely related but smaller example was published in Spink and Tibet: Buddhist Art in the Nyingjei Lam Collection》，倫敦，1999
Son Ltd., Light of Compassion, Buddhist Art from Nepal and Tibet, 年，頁144，圖62。
1997, pp.24-5, fig.12, and later sold at Christie’s, New York, 14 Karl Debreczny，《Wutaishan: Pilgrimage to Five Peak Mountain》，
September 2010, lot 66. The physiognomies of the two figures are 魯賓藝術博物館，紐約，2007年，頁78，29號。
almost identical, including the distinct pointy hairline, smiling face with
downcast eyes, and slightly stocky torso. They also share the same 展覽
type of inner and outer patchwork robes with densely incised borders. The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam
Collection, 阿什莫林博物館，牛津，1999年10月6日 - 12月30日。
Published Wutaishan: Pilgrimage to Five Peak Mountain，魯賓美術館，
David Weldon and Jane Casey Singer, The Sculptural Heritage of 紐約，2007年5月10日 - 10月16日。
Tibet: Buddhist Art in the Nyingjei Lam Collection, London, 1999, Stable as a Mountain: Gurus in Himalayan Art，魯賓美術館，
p.144, fig.62. 紐約，2009年。
Karl Debreczny, Wutaishan: Pilgrimage to Five Peak Mountain, Casting the Divine: Sculptures of the Nyingjei Lam Collection，
Rubin Museum of Art, New York, 2007, p.78, no.29. 紐約魯賓美術館，2012年3月2日 - 2013年2月11日。

Exhibited 來源
The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam 菩薩道收藏
Collection, Ashmolean Museum, Oxford, 6 October - 30 December
1999.
Wutaishan: Pilgrimage to Five Peak Mountain, Rubin Museum of Art,
New York, 10 May - 16 October 2007.
Stable as a Mountain: Gurus in Himalayan Art, Rubin Museum of Art,
New York, 2009.
Casting the Divine: Sculptures of the Nyingjei Lam Collection,
Rubin Museum of Art, New York, 2 March 2012 - 11 February 2013.

Provenance
The Nyingjei Lam Collection

146 | BONHAMS