Page 155 - Sotheby's October 3 2017 Tantra Buddhost Art

Previously part of the Pan-Asian collection of Nasli 此銅造像氣宇超凡，原屬傳奇亞洲骨蕫商納思禮．赫拉莫內
Heeramaneck (1902-1971), and later with Robert Hatsfield 克（Nasli Heeramaneck，1902-1971年）之泛亞洲收藏，後
Ellsworth (1929-2014), this impressive, early figure has 又為安思遠雅蓄，經數位馳譽北美之亞洲藝術骨蕫商遞藏。
passed through the hands of some of the most significant
Asian art dealers in North America. 此尊早期蓮華手菩薩像以青銅鑄造，光澤可鑑，呈迦濕彌羅
式。該式所依之造像傳統由西北印度傳入藏西，後於中古時
This early sculpture of the bodhisattva Padmapani is cast in 期隨伊斯蘭擴張幾近消亡。
a lustrous bronze in the Kashmiri style. The style is based on
the fabulous sculptural traditions imported into Western Tibet 早在公元980年，迦濕彌羅匠人便入藏西建立工坊，裝飾彼
from North-Western India, the artistic traditions of which were 時新興之廟宇寺院。佛教於藏地二度弘揚，古格王益西沃
all but wiped out by the later Islamic conquests in the medieval （Yeshe-Ö）厥功甚偉；在其扶助下，眾巧匠應譯師仁欽桑波
period. （Rinchen Zangpo）之邀赴古格王國。至此，藏西受迦濕彌
羅影響，造像風格自成一家，本品即為證例；該風格傳承遍
Kashmiri artists were invited to establish ateliers in Western 及藏西，繼而陶染藏中造像。
Tibet to ornament the burgeoning temples and monasteries
as early as 980. These skilled artists were invited to the 三重頭冠開孔嵌寶，濃密髮辮垂泄披肩，均乃迦濕彌羅之典
kingdom of Guge by the translator Rinchen Zangpo under 型。後頸見冷金，髮絲見藍彩。腰布所刻半圓紋飾可比較一
the auspices of the Guge king, Yeshe-Ö, who was responsible 尊十二世紀藏西銅文殊菩薩像，見紐約蘇富比2013年9月，
for the second diffusion of Buddhism in Tibet. Thus a 《佛相─佛教藝術經典之作展售會》，編號10。
sophisticated Kashmiri-influenced style was established in
Western Tibet, embodied in the current fine example, which 頭冠及項鍊嵌寶方孔可另參考一尊十一、十二世紀銅蓮華
set the local style for subsequent period throughout the 手菩薩像，屬安思遠舊藏，錄於 Marylin M. Rhie 及 Robert
region and informed later Central Tibetan sculpture. Thurman，《The Sacred Art of Tibet》，紐約，1996年，頁
136-137，編號28。
The tripartite crown with aperture for an inlaid stone is a
Kashmiri convention, as are the thickly coiled plaits which
cascade elegantly down the shoulders. Traces of cold gold
are visible at the back of the neck, as well as traces of blue
polychromy in the hair. Compare the incised half-roundel
motif on the dhoti with another twelfth century bronze
depicting the bodhisattva Manjushri from Western Tibet, see
Sotheby’s New York, Footsteps of the Buddha, September
2013, cat. no. 10.

Compare also the crown and necklace square apertures for
inlaid-stone with another eleventh/twelfth century bronze
figure of Padmapani from the Robert Ellsworth collection,
illustrated in Marylin M. Rhie and Robert Thurman, The Sacred
Art of Tibet, New York, 1996, pp. 136-137, cat. no. 28.

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