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fig. 3 A gilt-bronze figure of Sadaksari, fig. 4 A gilt-bronze figure of Kurukulla,
17th century, 26 cm. high. 18th century, 15 cm. high.
Collection of the Capital Museum, Beijing Collection of the Palace Museum, Beijing
圖三 首都博物館藏品 銅鍍金四臂觀音菩薩像 圖四 北京故宮博物院藏品 銅鍍金金剛亥母像
十七世紀 高 26 公分 十八世紀 高 15 公分
生動的藝術風貌，充溢著生機勃勃的現實主義藝術氣息，完 the Tashi Lhunpo Monastery’, and this kind of label is found
全是一種全新的時代藝術新風尚。 attached on the aforementioned bronze figure of Vajravarahi
in the Capital Museum (fig. 5). The mention of the ‘Tashi
令人驚喜的是，當我們放眼市場之外，發現類似風格的造像遠 Lengma’ bronze figures first appears in the Qing imperial
不只此四尊，在西藏寺廟、國內外公私博物館都有遺存和收 archives in the 9th year of the Yongzheng period (1731): “On
the twenty-second day of the fifth month of the ninth year
藏，典型實例如布達拉宮收藏的銅鍍金金剛亥母像（圖二）， of Yongzheng, Zhang Yuzhu presented a figure of Buddha
羅布林卡收藏的銅大威德金剛像，首都博物館收藏的銅鍍金 from Tibet as a ‘Tashi Lengma’ tribute from the Panchen
四臂觀音菩薩像（圖三）、銅鍍金四世班禪像，北京故宮博 Lama. The emperor ordered a shrine for it, asked for a draft
物院收藏的銅鍍金智行佛母像（圖四）等。這些僅從目前公 of the shrine, then to have it placed in the tower within the
佈的資料而知，而沒有公佈的造像還有更多，其中西藏各大 Buddhist Chamber.” Therefore, given the similarity between
the current figure and the Capital Museum example, it can
寺廟和博物館的遺存和收藏尤為豐富。筆者曾考察過西藏羅 be concluded that the current bronze figure was also made in
布林卡佛像庫房，在其豐富的藏品中就看到多尊風格典型的 the Tashi Lhunpo Monastery, and as early as the ninth year of
此類造像。而內地北京故宮博物院和首都博物館也各有收藏， the Yongzheng peiod. The style of the ‘Tashi Lengma’ figures
筆者所在的首都博物館上萬尊藏傳佛像中就有不少此類造像； is the New Miantang style mentioned in various Tibetan
故宮博物院的收藏據故宮博物院研究人員統計總量達四百餘 literary sources, which deeply influenced the subsequent
development of Buddhist art in the entire Tibetan region.
尊，都是西藏等地活佛、大喇嘛和上層人士進獻朝廷的禮物。
由此豐富的遺存和收藏我們完全可以確信，此類造像不是一 According to Tibetan literary sources, the New Miantang
般的造像類型和風格，而是清代西藏地區一種極為流行和極 style was developed by Choyong Gyatso (active c. 16-17th
具影響的造像風格。 century), a monk of the Tashi Lhunpo Monastery. His talent
was recognised by his contemporary the 4th Panchen Lama
(1567-1662), who invited him to lead many major painting
那麼，這種風格產於何時何地，其風格又該如何歸類呢？所 and sculptural projects. In the Tashi Lhunpo Monastery,
幸清宮檔案和北京故宮博物院的藏品為我們提供了重要依據。 he created numerous frescos, thangkas and sculptures,
故宮博物院的部分藏品上附有三世章嘉國師「認看」（相當 including the twelve thangkas variously depicting the Buddha
於鑒定）記錄的黃簽，黃簽上的記錄一律稱此類造像為「紮 Sakyamuni, Sixteen Arhats, the legend of Maitreya’s teaching,
什琍瑪」，意為來自西藏紮什倫布寺的銅造像，其中「紮什」 the legend of Tsongkhapa and others. in 1647. Stories of
his artistic creation is recorded in the biography of 4th
為紮什倫布寺的簡稱，「琍瑪」意為銅。如上舉銅鍍金金剛 Panchen Lama. The biography of the 5th Panchen Lama also
亥母像上就附有如此記錄的黃簽（圖五）。其中清宮一則檔 mentions several of his other achievements, most notably the
案還明確記載這類「紮什琍瑪」最早是在清雍正九年（1731 painting of the fresco at the Potala Palace. The Tashi Lhunpo
年）開始進獻宮廷的，文稱：「雍正九年五月二十二日，張 Monastery has preserved a thangka of the 4th Panchen Lama
玉柱交來佛一尊，說特古特（即西藏）送進，系班禪厄爾德 painted realistically by Choyong Gyatso (fig. 6). It is precisely
such kind of truthful portrayal that has inspired the realistic
尼進的紮使力媽（即紮什琍瑪）禮子佛。傳旨配好龕，畫樣 style perpetuated throughout the Tibetan Buddhist figures of
呈覽，供在佛樓鬥壇內。欽此。」於是佛像上黃簽和清宮檔 the Qing dynasty, as evidenced by the current figure.
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