Page 164 - Bonhams Auction Images of Devotion Oct. 2 2018

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A THANGKA OF YAMA DHAMARAJA 閻魔護法唐卡
TIBET, 17TH CENTURY 西藏，十七世紀
Distemper on cloth. 布本設色。
Himalayan Art Resources item no.61811 喜馬拉雅藝術資源網61811號
Image: 84 x 57 cm (33 x 22.5 in.); 畫心:84x57釐米（33x22.5英吋）;
With silks: 160 x 79 cm (63 x 31 in.) 裝裱:160x79釐米（63x31英吋）

HK$300,000 - 500,000 300,000 - 500,000 港元

Yama Dhamaraja is a crucial wisdom deity from the Vajrabhairava 閻魔護法是薩迦、噶舉及格魯派修練的「怖畏金剛密儀」中關鍵性的
Tantra, which is practiced by Sakya, Kagyu, and Gelug orders. Yama 智慧神。其被尊為智慧菩薩文殊室利的化現之一。死亡和重生的的假
Dhamaraja is understood to be a form of Manjushri, the Bodhisattva 象是修行成佛之路的阻礙，而閻魔護法可摧破修行者對於死亡的恐
of Perfected Wisdom, taken to help quash a practitioner’s fear of 懼。其在格魯派具有格外重要的地位，與六臂大黑天及毘沙門天並列
death, particularly as the illusion of death and rebirth might seem like 作為教派的三護法。
a setback from the progress they have made in their current lifetime
towards the spiritual enlightenment of others. Yama Dhamaraja holds 這幅氣勢磅礴的畫作將閻摩護法對死亡絕無妥協的主宰表達得淋漓盡
special significance for the Gelugpa, who regard him, alongside 致。俯臥之人被水牛碾碎於足下，代表相信死亡假象的無知信眾。氣
Shadbhuja Mahakala and Vaishravana, as one of the order’s three 勢逼人的閻摩護髮和他的明妃伽蒙迪母橫跨著水牛陶醉於死亡之定
principal protectors. 數，並共享嘎巴拉碗中香味四溢的血水。

Looking at this powerful painting, Yama Dhamaraja’s unrelenting 畫面中心上方描繪了格魯派的創始人宗喀巴，同樣被尊為文殊室利
dominance over Death seems undeniable. The prone human 的化身。伴隨他的有一位格魯派信徒，一位大成就者及未受戒的舞
pulverized by a buffalo, represents one that ignorantly buys into the 者。畫面下方則呈現了舞動著的護法神。畫中寬闊的火焰輪，細緻
illusion of death. While, astride the buffalo, imposing Yama Dhamaraja 刻劃的山岩，及整體色調都符合十七世紀風格，與魯賓夫婦收藏中
and his consort Chamundi revel in mortality, sharing a skullcup of 的一幅勝樂金剛唐卡相似（參見喜馬拉雅藝術資源網131號）。另外
scented blood. 參照Neven，《Etudes D’Art Lamaique et de L’Himalaya》，布魯塞
爾，1978年，頁22，8號。
Appearing in the top center of the painting, the founder of the Gelug
order, Tsongkhapa, is also considered a manifestation of Manjushri.
He is joined by a Gelug follower, a mahasiddha, and dancing lay
figures. The painting’s lower section shows dancing tutelary deities.
Stylistically, the wide disc of flames, detailed rockwork, and palette
are indicative of the 17th century and shared by a thangka of
Chakrasamvara in the Shelley and Donald Rubin Collection (HAR
no.131). Compare with another example published in, Neven, Etudes
D’Art Lamaiq ue et de L’Himalaya, Brussels, 1978, p.22, no.8.

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