Page 25 - Wrathful Images

Right:
Fig. 3: An important gilt-bronze figure of Amitayus,
Imperial China, Xuande mark and period, 22½ in., 57.1
cm, Sotheby’s New York, 25th March 1999, lot 121.
圖三：御製銅鎏金無量壽佛，《大明宣德年施》
款，57.1公分，紐約蘇富比1999年3月25日，編
號121

Stylistic details seen only on these large scale Ming works include the decoration of Hevajra and Nairatmya’s
belts with the distinctive alternating rosette and jewel motif, similar to that of the Musée Cernuschi Yongle
period 136 cm standing gilt-bronze bodhisattva from Qutansi monastery, Qinghai Province, identified by Karl
Debreczeny as having been commissioned for the Qutansi monastery, see Faith and Empire: Art and Politics
in Tibetan Buddhism, Rubin Museum of Art, 2019, cat. no. 1.17 (fig. 2): on the 79 cm mahasiddha Virupa
in the Victoria and Albert Museum, see Ming: 50 Years that changed China, The British Museum, London,
2014, cat. no. 204: and on the 57.8 cm Chaturbhuja Mahakala sold in these rooms, 26th March 1998, lot
161, which also features similar anklets to the Hevajra with jewels widely spaced within beaded bands. The
lotus-pedestal design is also closely comparable to the Musée Cernuschi bodhisattva, with a tapering lower
rim, the recess above with a string of large pearls, the double row of wide lotus petals with a triple flourish
at the tips, and a second string of slightly smaller pearls above, all typical characteristics of large scale early
Ming Buddhist bronzes. Stylistically, the bases of large scale Yongle and Xuande mark and period bronzes
are virtually indistinguishable, as seen for example on a 57.1 cm Xuande Amitayus, first sold in these rooms,
25th March 1999, lot 121, and more recently at Christie’s Hong Kong, 31st May 2010, lot 1961 (fig. 3),
compared with the Musée Cernuschi Yongle bodhisattva.

資源網，編號30430。另比明初銅鎏金四臂大黑天一 伯特博物館，展於《Ming: 50 Years that changed
尊，57.8公分，售於紐約蘇富比1998年3月26日，編號 China》，大英博物館，倫敦，2014年，圖錄編號204
161；亦可比菩提曼拏羅基金會珍藏寶帳大黑天，同 ，且見於前述四臂大黑天，57.8公分，售於紐約蘇富
場呈現（編號1）。 比1998年3月26日，編號161；該四臂大黑天踝鐲碩
寶疏朗，夾於兩圈小珠之間，與此尊喜金剛相類。蓮
喜金剛與無我明妃腰帶處作寶珠花結，乃明代大規格 台式樣亦與賽努奇永樂菩薩頗似，下沿收窄，添飾小
造像所獨有，可比賽努奇博物館藏永樂銅鎏金菩薩 珠，蓮瓣寬展，瓣尖作三股卷紋，上沿再飾小珠，種種
立像，高136公分，原奉青海瞿曇寺，據杜凯鹤研究， 皆是明初大規格造像之典型。若論大規格造像底座
此例乃為瞿曇寺定造，見《Faith and Empire: Art 紋飾風格，永宣別無二致，參考一宣德無量壽佛，57.1
and Politics in Tibetan Buddhism》，魯賓藝術博物 公分，先後售於紐約蘇富比1999年3月25日，編號121
館，紐約，2019年，編號1.17（圖二）。此紋飾亦見於 ，及香港佳士得2010年5月31日，編號1961（圖三），
大成就者毘魯巴像一尊，79公分，藏維多利亞與艾爾 同樣與賽努奇永樂菩薩相似。

44 SOTHEBY’S COMPLETE CATALOGUING AVAILABLE AT SOTHEBYS.COM/N11409 45