Page 80 - Bonhams Auction Images of Devotion Oct. 2 2018

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A COPPER ALLOY FIGURE OF AMITAYUS 無量壽佛銅像
TIBET, 13TH/14TH CENTURY 西藏，十三/十四世紀
Himalayan Art Resources item no.61812 喜馬拉雅藝術資源中心61812號
47.7 cm (18 in.) high 高47.7釐米（18英吋）

HK$7,000,000 - 9,000,000 7,000,000 - 9,000,000 港元

From about 11th-through 14th-centuries, Tibetan Buddhists 此尊無量壽佛面容靜謐圓滿，結跏趺坐，頸戴瓔珞，臂釧及手鐲，
appropriated the Pala style of Northeastern India with relatively 寬肩收腰，半閉目而嘴角含笑，整體造像寧靜端莊。
faithful adherence. Significant in this were Newari artisans of the
Kathmandu Valley, who conservatively preserved aesthetic traditions 於十一到十四世紀之間，西藏匠師臨摹借鑒了印度東北部的帕拉風
through generations of master craftsmen, and were called upon 格。加德滿都谷地歷代內瓦爾匠師保存了帕拉風格美學造詣，對於
by rising powers in Tibet and China to create significant monastic 沿襲此風格的藝術產生了極大的影響。在這段期間，內瓦爾匠師獲
projects. Of large scale and crisp details, this powerful, hierarchic 得正在崛起的中原與西藏聘請，參與佛教寺院興建工程。此尊刻劃
figure of Amitayus was part of such a significant artistic project. 入微的無量壽佛剛健有力、張力十足，詮釋了此類承襲帕拉風格的表
現形式。
The Pala-style features are clear throughout the large sculpture of the
Buddha of Immeasurable Life. They resound through the large head 造像下顎方正，頭部突出，胸配鑽石形垂飾瓔珞，身戴三角臂釧配流
and square jaw, the necklace’s diamond-shaped pendants, and the 蘇等，均體現帕拉遺風。相似特徵可參見一尊身長較小的十三世紀金
broad triangular armbands with suspended beaded swags. These 剛薩埵像，刊載於Hugo Kreijger著錄，《Godenbeelden uit Tibet》，
are shared by a slightly smaller 13th-century figure of Vajrasattva 阿姆斯特丹，1989年，頁73，以及佳士得售出的無量壽佛，阿姆斯
published in Kreiger, Godenbeelden uit Tibet, Amsterdam, 1989, 特丹，1997年11月19日，拍品2號。另論其他類似沿襲帕拉風格西藏
p.73, as well as an Amitabha of the same scale sold at Christie’s, 造像，可參見施羅德著錄，《西藏佛教雕塑》，
Amsterdam, 19 November 1997, lot 12. Further comparisons can 香港，2003年，第1卷，編號109A及109B-C，瓔珞珠寶和髮飾
be made with Tibetan sculptures following the Pala style published （參看Helmut Uhlig著錄，《On the Path to Enlightenment》，蘇黎
in von Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2003, 世，1995年，47、57號）。此尊無量壽佛和以上相關作品的寶珠垂
vol.1, nos.109A&109B-C; and vol.2, nos.316A and fig.XVIII-3. 飾獨具特色，顯現明確的審美風尚，非凡動人。
Moreover, a Padmapani and Vajrapani in the Museum Rietberg
share similar prominent jewelry and hair-lines (Uhlig,On the Path to 自中统元年起（1260年），藏傳佛教在元代廣泛盛行，尼泊爾工
Enlightenment, Zurich, 1995, nos.47&57). Cast with idiosyncratic 匠阿尼哥統領元朝皇室工藝創作，在中原開創了新的審美形式。與
designs among the jewelry, that each example, including the present 此尊無量壽佛尼泊爾風格的面像處理相近作品，參考美國史密森尼
bronze, has its own distinct character. 博物館一尊創作於1300年前後的髹漆菩薩，傳為阿尼哥造，出版於
Mary Shepherd Slusser，”The Art of East Asian Lacquer Sculpture”
The dissemination of Tibetan Buddhism in the Yuan court from ，《Orientations》雜誌，1996年1月號，頁24-27，圖15a、b。阿尼
1260s onward, and the commissioning of Newari master craftsmen 哥對元代藝術傳承有深遠的影響，獲忽必烈在元大都授任為正三品大
for imperial projects, initiated new aesthetic attitudes in China. 官兼領將作院。此件作品交織融合不同文化的藝術風格、審美情操及
Similarities with the present sculpture are simultaneously found in 精神內涵、一脈相承，架構了一座連接印度、尼泊爾、西藏和中原藝
the physiognomy and squared face of a c.1300 Yuan dry-lacquer 術創作的橋樑。
bodhisattva in the Freer Gallery of Art, Washington, D.C., published
in Slusser, ‘The Art of East Asian Lacquer Sculpture’, in Orientations, 著錄
January 1996, pp.24-27, fig.15a, b. This sculpture is attributed to 張小舟(編)，《緣起·喜馬拉雅藝術展》，北京，2017年，頁180，
the legendary Newari master, Aniko, who enjoyed influence in the 57號。
artistic circle of the Yuan court, appointed by Kubilai Khan as the
Supervisorate-in-chief of artisans in the Grand Capital. The continuity 展覽
across the present piece and this diverse range of important 緣起·喜馬拉雅藝術展，北京，2017年12月23日 – 2018年1月23日。
sculptures map a profound artistic bridge connecting India, Nepal,
Tibet, and China.

Published
Xiaozhou Zhang (ed.), Dependent Arising - Himalaya Art, Beijing,
2017, p.180, no.57.

Exhibited
Dependent Arising - Himalaya Art, Beijing, 23 December 2017 –
23 January 2018.

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