Page 92 - Contenplating the Divie Buddhist Art Christies Hong Kong

fig. 1 A gilt-bronze figure of the 4th Dala Lama, fig. 2 A gilt-bronze figure of Vajravarahi,
17th century, 26.3 cm. high. Sold at Christie’s Hong Kong,
2 December 2015, Lot 2914
圖一 銅鍍金四世達賴雲丹嘉措像 十七世紀 高 26.3 公分
香港佳士得 2015 年 12 月 2 日 拍品 2914 號
後又受沙拉寺第十三任赤巴職位。1578 年 5 月與漠南蒙古王
俺答汗會晤於青海仰華寺，受贈「聖識一切瓦齊爾達喇達賴
喇嘛」尊號，達賴喇嘛名號由此而來。此後三四年間，奔波於
甘肅、青海、四川等地授徒傳法。1586 年抵歸化城（即今呼
和浩特），為俺答汗舉行超薦法會。在內蒙古期間，於歸化
城建錫熱圖召寺，1587 年至內蒙古東部傳法，同年喀爾喀阿
巴代台吉前來拜見，又贈以「諾門汗牙齊瓦齊爾可汗」尊號，
使黃教影響播及內外蒙古。1587 年僧格都棱之子奢力克上表
朝廷，為其請賜「朵爾只唱」封號，明神宗旋即邀請赴京會
晤並講經。接受邀請後，於 1588 年啟程赴京，不幸中途於內
蒙卡歐吐密圓寂，享年 46 歲。一生大力弘揚黃教，並積極協
調漢、滿、藏、蒙民族關係特別是明中央與蒙、藏地方關係，
成就顯著，為後世達賴喇嘛樹立了愛國愛教的光輝形象。
看到這尊造像，筆者立刻想起 2015 年香港佳士得秋拍的銅鍍
金四世達賴喇嘛像（圖一）和 2015 年北京保利秋拍的銅鍍金
自在觀音像和地獄主像，它在材質、大小規格、造型風格及
局部細節上與四世達賴喇嘛像幾乎一模一樣，應當屬於同時
製作的一套造像中的兩尊，而在造型風格及工藝上與保利拍
賣的兩尊造像也完全一致。因此可以說四尊造像皆屬於同一
風格類型，具有共同的藝術特點。其突出特徵可以歸納為四
個方面：其一，造像全身結構勻稱，量度準確，形象莊嚴，
充分體現了造像者對佛教工巧明的精深造詣。其二，造型生
動，姿態優美，與當時同樣講究量度的北京宮廷造像相比，
造型姿態更顯靈動，更富張力和藝術韻味。其三，無論軀體
造型，還是裝飾部位，都追求自然的寫實性。如軀體和四肢
具有肌肉感，線條柔美生動，全身充滿生機和活力；裝飾富
於現實意味，此像衣緣刻劃的花卉紋飾就是突出的表現。其
四，造像用材講究，胎體厚重，雕刻細膩，造型規範，鍍金
亮麗，打磨光潔，無論整體還是局部細節都一絲不苟地雕鑿
刻劃，極盡工巧之能事，整體給人精緻華麗的藝術美感。從
這些藝術表現來看，這些造像無不展現出清新、華麗、自然、
88 Contemplating The Divine – Fine Buddhist Art 正觀自在 — 佛教藝術精品
17th century, 41.5 cm. high.
Collection of the Potala Palace, Llasa
圖二 布達拉宮藏品 銅鍍金金剛亥母像
十七世紀 高 41.5 公分
Ming emperor but fell ill and died on his way to Beijing. He
devoted his life to the promotion of the Gelugpa school and
mediating relationships between the Han, Manchu, Tibetan
and Mongols, which contributed greatly to the peace among
regions and became a role model for future Dalai Lamas.
The present figure is very similar in terms of material, size,
style, and details, to a gilt-bronze figure of the 4th Dala
Lama, sold at Christie’s Hong Kong, 2 December 2015, lot
2914 (fig. 1), and to a gilt-bronze figure of Guanyin and a gilt-
bronze figure of Yamaraja sold at Beijing Poly in Autumn
2015, and it is most likely that they belong to the same
set. They share four prominent characteristics: 1) balanced
proportion of the body 2) graceful lines with a strong sense
of movement 3) pursuit of realism 4) sumptuous use of the
material. The refreshing naturalism of the figures bears a
striking resemblance and epitomises the forming of a new
trend during the Qing dynasty. Figures of similar style
can be found in Tibetan temples, museum collections and
private collections worldwide, such as a gilt-bronze figure
of Vajravarahi in the collection of the Potala Palace (fig. 2); a
bronze figure of Vajrabhairava in the collection of Norbulingka;
and a gilt-bronze figure of Sadaksari in the Capital Museum,
Beijing (fig. 3); and a gilt-bronze figure of Kurukulla in the
Palace Museum, Beijing (fig. 4). In addition, there are many
other unpublished examples, especially in Tibetan temples
and museums, as well as in museums outside Tibet, such as
the Beijing Palace Museum, and the Capital Museum, the
former holding more than 400 figures of this type, which were
presented to the Qing court by high-ranking lamas or nobles.
The Qing imperial archives and the collection of the Palace
Museum in Beijing provide crucial clues to the dating and
origin of the current figure. Yellow labels written with the
phrase ‘Tashi Lengma’ are attached to some of the Buddhist
figures in the Palace Museum, as certificates of authentication
by Changkya Rolpe Dorje, the principle Buddhist teacher at
the Qing court. ‘Tashi Lengma’, literally means ‘Bronze of