Page 247 - Sotheby's October 3 2017 Tantra Buddhost Art

This rare sculpture highlights the finesse of the medieval fig. 1
eastern Indian sculptors and metalworkers with its attention Manjughosa, Shakyamuni and probably Yama
to miniature detail and mastery of poise. The complex and North-Eastern India, Late Pala Style, 11th century
delicately modelled Buddhist triad is an excellent example of Potala inv. no. 227
the refinement of Pala figuration. Executed during the height Photograph by Ulrich von Schroeder, 1996
of Bengal’s Golden Age, the current work demonstrates the 圖一
elegance and artistic innovation for which art from the Pala 十一世紀 印度東北部帕拉式晚期文殊菩薩、釋迦牟尼及或為閻摩
period is renowned: the relaxed plasticity of form; the slender 布達拉宮藏品編號227
physiognomy and elaborate jewellery; the highly stylised floral 烏爾裡希．馮．施羅德攝，1996年
and vegetative motifs; and the diverse application of precious
metals and semi-precious stones. 本像精細入微，造型優雅，甚為罕見，彰顯中世紀東印度造
像及金屬工藝之超卓。製於孟加拉黃金時代高峰，三佛以銀
The three seated deities are cast in silver, their faces 鑄成，刻劃細緻，面容泥金，昔日彩料依稀尚存，佈局精
heightened with cold gold and with traces of polychromy to 巧，誠帕拉造型典範。
the faces and hair. The stepped base, lotus stalk and triple
thrones are cast in copper, then gilded and inlaid with semi- 參考拉薩布達拉宮紅宮藏十一世紀帕拉銅像，其年代略此為
precious stones in the numerous apertures at the base and 早，佛像以三岔式枝莖承托，底座呈台階式，與此相近，見
central deity. Compare the stepped base and triple stalk 於烏爾裡希．馮．施羅德，《西藏佛教雕塑》，香港，2001
elements with a slightly earlier eleventh century Pala-period 年，卷1，頁272-273，編號88C-D。另參考紅宮所藏十一
bronze triad from the Red Palace in Lhasa, see Ulrich von 至十二世紀帕拉銅像之冠飾，出處同上，頁270-271，編號
Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2001, 87B。
vol. I, pp. 272-273, cat. nos 88C-D (fig. 1); and also the tall,
ribbed jatamukata, crown, finial, and fanning sash with an
eleventh/twelfth century Pala-period bronze triad also in the
Red Palace, ibid., pp. 270-271, cat. no. 87B.

The deities depicted in the current work represent the
archetypal Buddhist triad of the deities of the shadakshari
or six-syllabled mantra “om mani padme hum.” The central
figure is Shadakshari Lokeshvara, holding the primary hands
in anjalimudra at the heart center and clutching a wish-
fulfilling gem between them. The secondary left hand holds
a lotus flower, and the right hand holds a mala or rosary.
He wears the bodhisattva jewellery, a yagñopavitum across
the left shoulder, and an ankle-length striped dhoti secured
with an elegant flourish at the back. To the proper left of
Shadakshari Lokeshvara appears to be a smaller Shadakshari
Lokeshvara or Shadakshari Mahavidya, whose posture and
attributes mirror those of the central deity. To the proper right
of Shadakshari Lokeshvara is Manidhara, the holder (dhara)
of the jewel (mani), seated in rajalilasana, or the posture of
royal ease. His left hand rests on his knee, holding the stem
of a stylised lotus flower. The elbow of the left arm rests of
the raised left knee, and the left hand holds his characteristic
jewel.

THE HEART OF TANTRA – BUDDHIST ART INCLUDING PROPERTY FROM THE NYINGJEI LAM COLLECTION 245