Page 39 - Contenplating the Divie Buddhist Art Christies Hong Kong

fig. 2 A gilt-bronze mandala of Cakrasamvara, Lot 2857
12th Century, Northeastern India, 拍品 2857 號
collection of the Potala Palace
圖二 印度東北地區
十二世紀 鎏金銅勝樂金剛壇城 布達拉宮藏品

瓔珞為錯銀，與黃銅鑄造的身色相較格外鮮明。下踏二人屍， Sushumna, along the left, right and centre, respectively.
為外道之神，作為愚昧的象徵。 Eight nadi extend from the heart chakra, which forms the
Dharma, “the cosmic law and order” in Buddhist term. It is
最為獨特的是八葉內側的形象。除了主尊背後一葉上看得見 believed that the structure of a lotus mandala represents
尊神形象之外，其他七葉上只有甘露瓶上供奉嘎巴拉盌。這 the core concept in Buddhist cosmology.
一尊神成為我們辨識曼荼羅內容的主尊線索。 The current mandala is 20 cm in height, elegantly
supported by an openwork stalk composed of floral and leaf
這尊像為一面四臂女尊，右手持鉞刀，左手持嘎巴拉盌，右 motifs over a circular base with a beaded rim. The central
上手持鞀鼓，左手上持喀章嘎。曼荼羅中，主尊身後的位 deity Vajravarahi stands in dancing posture over two prone
置屬於西方，根據其圖像特徵可以確定此尊為堪劄羅哈母 bodies, a forceful expression of subduing ignorance. Her
（Kandaroha），其餘三個正方向雖然以甘露瓶與嘎巴拉 right hand holds the karttrika, a divine chopper while her
盌表示，但分別象徵東方荼吉尼母（Dakini），北方喇嘛母 left hand captures the kapala, a skull cup and khatvanga, a
（Lama）、南方具色母（Rupini），為金剛亥母最親近的四 trident. A boar’s head is applied to the left of her tiara with
three skulls on the top. Her upper torso, delicately adorned
位空行母眷屬。這四位空行母通常出現在勝樂金剛周圍，是 with a necklace inlaid in silver, shows the extremely detailed
十三尊勝樂金剛曼荼羅心輪五尊的組成部分，其他四隅葉上的 craftsmanship.
甘露瓶與嘎巴拉盌可能只是供養的象徵，並不表現實際尊神。
The motifs on the leaves are particularly interesting and
至於此尊的年代與產地，我們觀察到，金剛亥母沒有常見的 offer essential clues in understanding the current mandala.
戴鮮人首鬘，造型樸素，古雅，頗有東北印度或衛藏早期造 Each of the seven petals is decorated with a kalasa and
像的特徵。另外，金剛亥母曼荼羅往往是勝樂金剛曼荼羅的 a kapala, while the one immediately behind Vajravarahi,
which represents the direction of the West, is decorated
變化形式之一，在開花曼荼羅的八葉之外側往往出現八大屍 with a figure of Kandaroha, as identified by her posture
陀林的形象，但這裡只是素面，並沒有任何裝飾，由此判斷， of pratyalidhasana. The sets of kalasa and kapala on the
此像的年代當在 12 世紀前後，其蓮台以下的蓮莖和底座部分 petals occupying the other three cardinal directions:
銅色與上部不同，造型更為精緻和工整，應是後期所配。 East, North, and South, thus represent Dakini, Lama,
and Rupini, respectively. The four deities are often seen
surrounding Chakrasamvara, as illustrated by the mandala
of Chakrasamvara.
1. Tibet: Klöster öffnen ihre Schatzkammern, Kulturstiftung Ruhr Essen: The dating of the mandala can be inferred from its stylistic
Villa Hgel, 2006. pp. 401-408, pls. 74, 75.
2. 羅文華：《究竟定：清代藏密瑜伽修行寶典》，北京：紫禁城出版社，2009 features. Its natural, austere hairstyle resembles the early
年。圖5，頁59。 style of Northeast India and Ü-Tsang region. The exterior
3. Kimiaki Tanaka, Mitrayogin's 108 Mandalas, Kathmandu: Vajra of the petal is absent of Shmashana Adhipati, which often
Publications, 2013. p. 116. appears on mandalas of later periods. Therefore, it can be
4. Martin Brauen, Mandala: Sacred Circle in Tibetan Buddhism, deduced that the current mandala was made around the
Arnoldsche/Rubin Museum of Art, 2009. p. 124, pl. 24. 12th century.

35