Page 14 - Christie's Hong Kong May 31, 2017 Fine Buddhist Works of Art

The Buddha is wearing a patchwork robe, and the seams between 佛著通肩式福田衣袈裟，袈裟的衣襟和布片之間表現
the fabric are indicated with beading, some of which is decorated 的縫線是用連珠紋表現出來，連珠紋為錯銀技術，明
with inlaid silver that is slightly proud of the surface. This very 顯突出佛像表面，這一點非常獨特，應當是工匠明顯
unusual feature shows the creativity of the craftsman in creating a 求變創新的一種體現，無論身體正面還是背後均完全
new design. Both the back and the front are beautifully finished, a 採用精工製作，這是西藏造像的特點，與尼泊爾造像
Tibetan characteristic in contrast with the Nepalese style, where 不太重視背後加工的情況明顯不同。眾所周知，佛著
the backs of figures are often left rough. The patchwork robe is a 福田衣，也叫百衲衣，是漢地的佛教傳統，西藏沒有，
feature of Han-Chinese Buddhism that is not used in Tibet, where 西藏追隨印度傳統，單布披身，不會有福田衣之說，
single-cloth robes are prevalent. This type of robe came to Tibet 漢地發明了這種袈裟以後，隨宋元文化西傳，影響到
through the cultural exchanges between Tibet and the courts of 西藏。雖然西藏僧人同樣不著福田衣，但是在元末明
the Song and Yuan dynasties. Although Tibetan monks do not wear 初的佛教造像中卻時時出現。此像即是重要例證之一。
patchwork robes, they frequently appear on Buddhist figures of this
period. 此像底部有封底銅板，中心沒有刻劃後期常見的十字
交杵和陰陽魚圖案，而是簡單的八瓣蓮花，八瓣蓮花
The current figure is sealed with a base plate which is simply 頭部的卷花紋呈明顯的不對稱形式，這是在 14 世紀夏
decorated with an eight-petalled lotus, instead of the viśvavajra or 魯寺壁畫中經常可以看到的，也可證明二者年代相當
the yin-yang symbols frequently seen in the later periods.The eight- 接近。根據 X 光成像照片，在身體下部的空腔內有小
petalled lotus is clearly asymmetrical, a type frequently appears 經卷排列的裝藏痕跡，這一做法也僅見於西藏。
on 14th century murals in Shalu Monastery, and further proof of
the dating of this figure. From X-ray images, there are small sutra 此像原本就是像座分鑄的，也是為了減少鑄造難度，
scrolls in the cavity of the figure, a unique consecration method 在流傳過程中極易分離。此像即是這種情況。
only seen in Tibet.
總之，此是一尊具有濃重的尼泊爾－西藏風格的銅造
The base of the current figure was cast separately to facilitate its 像，品相完整，鑄造水平相當成熟，做工精緻，尤其
manufacture. However, this type of bases are often lost, such is the 是這種突起的錯銀技術更是西藏獨特的傳統，是西藏
case here. 中世紀 14 世紀前期重要的代表性作品。

To conclude, this is a Tibetan bronze figure that has been heavily
influenced by Nepalese style. It is in very good condition, and
its casting shows a high degree of sophistication and refinement,
especially with its silver-inlay technique, a uniquely Tibetan
tradition.This is an important masterpiece from early 14th century
Tibet.

12