Page 184 - Bonhams Auction Images of Devotion Oct. 2 2018

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A BLACKGROUND THANGKA OF PANJARNATA MAHAKALA 寶帳大黑天黑唐卡
CENTRAL TIBET, 18TH CENTURY 藏中，十八世紀
Distemper on cloth with gold; verso with an “om ah hum” invocation 布本設色描金；背面提紅色藏文種子字「唵阿吽」
in red Tibetan script. 喜馬拉雅藝術資源網61759號
Himalayan Art Resources item no.61759 畫心：71x65釐米（28x25 5/8英吋）
Image: 71 x 65 cm (28 x 25 5/8 in.); 裝裱：116x82釐米（45 3/4x32 1/4英吋）
With silks: 116 x 82 cm (45 3/4 x 32 1/4 in.)
3,200,000 - 4,800,000 港元
HK$3,200,000 - 4,800,000
忿怒尊黑唐卡在十八世紀達到鼎盛，藝術水平高超並且廣為流傳。而此幅
In the 18th century, blackground thangkas used for wrathful deities 寶帳大黑天更是脫穎而出。細節完美，線條利落，色澤逼人，乃此類黑唐
reached the height of their popularity and quality. Among them, this 卡的最上乘之作。
breathtaking example of Panjarnata Mahakala is of unsurpassed
quality. Comprised of flawless details, exquisite lines, and brilliant 在唐卡的正中央，寶帳大黑天立於仰臥男子之上，站於一團火焰金光之
colors, this thankga is a masterpiece of the blackground genre. 前。寶帳大黑天為喜金剛的不共護主，引導信眾修成正覺，在密宗中是極
為重要的護法神。畫師以巧奪天工的畫工，通過纖細的蛇飾、華麗的珠飾
At the center of its composition, a powerful figure of Panjarnata 和超現實的頭顱表現大黑天威武忿怒之姿。
Mahakala stands over a prone man before an aureole of coiling
flames with bright red and golden hues. Panjarnata Mahakala, “Lord 唐卡頂端「薩迦五祖」中的前三位漂浮於五色雲上。位於中間是薩千貢噶
of the Pavilion”, protects the tantric practice of Hevajra, a potent 寧波（Sachen Kunga Nyingpo，1092-1158），在右邊的是洛本索南澤莫
means through which an initiate can acquire Buddha-consciousness. （Loppon Rinpoche Sonam Tsemo，1142-1182），第三位靠左的是傑尊
The artist has depicted the protector’s intimidating size and 仁波切札巴蔣稱（Jetsun Rinpoche Dragpa Gyaltsen,1147-1216）。寶帳
iconography with luxuriant detail among the tiny snakes, sumptuous 大黑天與薩迦派淵源甚深，而初祖薩千貢噶寧波相傳是寶帳大黑天修法的
jewelry, and hyper-realistic severed heads. 大師。三位祖師的描繪極為精湛細緻，衣褶繁複多樣，指節生動，毫髮清
晰，絲絲可見，腕上 念珠生動可見，不差毫釐，唯妙唯肖，巧奪天工。
Floating on colorful clouds at the top are the first three founding
patriarchs of the Sakya Order of Tibetan Buddhism. The first, Sachen 祖師之下，群山岩壁下屍陀林的場景駭人心魄，一人為豹所食，一人為牛
Kunga Nyingpo (1092–1158), is at the center. The second, Sonnam 所傷其胸，雪豹與猛虎惡鬥，人骨半隱半顯，彩繪水準精湛。而唐卡底
Tsemo (1142-1182), is on the right. And the third, Dragpa Gyaltsen 部描繪的場景同樣駭人，大黑天的兩位侍者，二臂一髻佛母，四臂吉祥天
(1147-1216) is on the left. Panjarnata Mahakala is particularly 母，一同守衛著五覺供品。
revered by the Sakya, with Sachen Kunga Nyingpo considered one
of the masters of the Panjarnata Mahakala teachings. Although 此唐卡可能繪製於拉薩附近的貢嘎曲德寺或具有同樣顯赫地位的藏中薩迦
diminutive to allow more space for Panjarnata Mahakala to dominate 寺廟，畫師的技巧兼具各派之長，但以欽則風格為主。貢嘎曲德寺為欽則
the composition, the three teachers are treated with painstaking 畫派宗師欽則欽莫（活躍於1450-90年）的主要作品藏地。此幅畫作中寶帳
attention. From the densely patterned textiles to the malas on their 大黑天旋轉的髮髻及燃燒的烈火背光與貢嘎曲德寺壁畫上的忿怒尊表現相
wrists, and from the knuckles on their fingers to each hair and 似（出處：Jackson，《A Revolutionary Artist of Tibet》，紐約，2016年，
wrinkle, the level of precision and realism remains constant. 頁65及96-7，圖2.22及4.22-4）。與此同時壁畫上烏鴉啄食人內臟的內容
也許直接源自貢嘎曲德寺之護法殿的壁畫（同上，頁70，圖3.5）。
Below the teachers, an array of rocky cliffs leads the eye through
terrifying scenes from the cremation grounds. A jackal eats a man
alive. A bull pierces a man’s chest. A snow lion attacks growling
tigers. And human flesh and skeletons litter the ground. Still the high
level of painted detail resounds. The fierce imagery is furthered at the
bottom, where Panjarnata Mahakala’s two attendants, two-armed
Ekajati and four-armed Shri Devi, guard the bloody offering of the five
sense organs.

The painting might have been produced at Gongkar Chode near
Lhasa, or an equivalent important Sakya monastery in Central Tibet;
its painter demonstrates a mastery of multiple painting traditions,
but the Khenri style predominates. Gongkar monastery is the main
site for the surviving body of work by Khyentse Chenmo (fl.1450-
90), the Khenri tradition’s founder. Khenri stylistic features linking
the wrathful deities depicted in Gongkar mural’s to the present
masterpiece include the manner of depicting Panjarnata’s hair
in spiralling buns and the rendering of the flaming mandorlas (cf.
Jackson, A Revolutionary Artist of Tibet, New York, 2016, pp.65&96-
7, figs.2.22&4.22-4). Also, the ravens carrying off human organs
in this painting’s top register may be directly inspired by Gongkar’s
Upper Protector’s Chapel (ibid., p.70, fig.3.5).

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