Page 222 - Bonhams Auction Images of Devotion Oct. 2 2018

Ivory is rarely used for Tibetan Buddhist sculpture, but its natural color 藏傳佛教極少使用象牙塑像，不過象牙本身的色澤很適合描繪勝樂金
lends itself to depicting Chakrasamvara’s white body. Remnants of 剛的白色軀體。殘留的色跡表明金剛亥母曾被塗為紅色，與主尊形成
pigment indicate that Vajravarahi was once painted red; the contrast 鮮明對比。象牙的可塑性也讓匠師能夠更加細膩的刻畫神祇面部的特
would have been stunning. Ivory’s plasticity has also enabled the 徵；此處勝樂金剛眼睛周圍柔軟的輪廓讓人歎為觀止。飽滿的蓮瓣上
carver to model each deity’s facial features with far subtler transitions 下兩層互相呼應，讓人聯想起十八世紀清宮「帕拉復興」風格的造像
than what can be found among contemporaneous bronze sculptures. （參見《故宮博物院藏文物珍品全集-藏傳佛教造像》，香港，2008
The soft contours around Chakrasamvara’s eyes are simply 年，頁245-6，編號234-5）。另參考一尊藏於洛杉磯郡立美術館的
breathtaking. The sculpture’s broad lotus petals carved in two mirroring 十七世紀象牙蓮花生像（館藏編號M.83.218.3；參見Pal著錄，《西
layers are redolent of 18th-century bronzes in the “Pala revival” style 藏藝術》，洛杉磯，1983年，頁290-91，圖S51a）。
produce at the Qing court (cf. The Complete Collection of Treasures:
Buddhist Statues of Tibet, Hong Kong, 2008, pp.245-6, nos.234-5). 著錄
An ivory example of Padmasambhava attributed to the 17th century is Meinrad Maria Grewenig & Eberhard Rist，《Buddha: 2000 Years of
held in the Los Angeles County Museum of Art (acc. no.M.83.218.3; Buddhist Art. 232 Masterpieces》，弗爾克林根，2016年，頁514-5，
Pal, Art of Tibet, Los Angeles, 1983, pp. 290-291, pl.S51a). 編號230。

Published
Meinrad Maria Grewening & Eberhard Rist, Buddha: 2000 Years of
Buddhist Art. 232 Masterpieces, Völklingen, 2016, pp.514-5, no.230.

220 | BONHAMS