Page 200 - Bonhams Auction Images of Devotion Oct. 2 2018
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A ROCK CRYSTAL FIGURE OF VAJRASATTVA 水晶金剛薩埵像
QING DYNASTY, 17TH/18TH CENTURY 清朝，十七/十八世紀
Himalayan Art Resources item no.61793 喜馬拉雅藝術資源網61793號
15.3 cm (6 in.) high 高15.3釐米（6英吋）
HK$500,000 - 800,000 500,000 - 800,000 港元
The artist has drawn on rock crystal’s clarity and translucence to 此尊巧借水晶之清澈及半透明特質，表達金剛薩埵所代表的”空性”及
better evoke the ultimate voidness (shunyata) of true reality and 大智慧。與此同時，金剛薩埵與水晶媒介亦均有純淨之意。一般於密
wisdom that Vajrasattva conceptually represents. Similarly, both 宗法式前，常以金剛薩埵作淨化儀式。金剛薩埵一手持金剛杵於胸
figure and medium are associated with purity. Vajrassattva practice 前，另一手握金剛鈴於腰際，精雕細琢的玲瓏珠寶及刺繡錦緞更凸顯
is usually performed in a purifying ceremony before tantric rituals. He 其圓滿。
is identified by his unique iconography, holding the vajra before his
heart and the ghanta by his hip. His perfection is further symbolised 此尊之風格可與康熙年間（1661-1722年）所製的一尊銅鎏金四臂觀
by meticulously carved jewelry and patterned textiles. 音菩薩相比（參見《藏傳佛教造像》，香港，2008年，頁237，226
號）。淚珠形冠葉及卷草紋飄帶幾無二置。蓮葉雖火焰狀尖端有所出
Stylistically, the present work can be compared with a gilt bronze 入，但大體同出一轍。飄帶的兩端向上飛卷，其制式化的風格與一尊
figure of Shadakshari made during the Kangxi Emporer’s reign (1661- 清宮舊藏的無量壽佛像極為相似（同上，248頁，237號）。
1722) (see Zangchuan Fojiao Zaoxiang, Hong Kong, 2008, p.237,
no.226). The tear-drop crown finials and scroll patterned scarf are
very similar across the two sculptures. The lotus petals, although
not identical in the decorative flame tips, are modeled after the same
type. The flying ends of his scarf, twisting in a stylized manner, are
very similar to that of a bronze Amitayus in the Qing Palace Collection
(ibid., p.248, no.237).
198 | BONHAMS
