Page 169 - 2018 Hong Kong Important Chieese Art

fig. 1
Thangka depicting Kalachakra, 15th century
After: Footsteps of the Buddha: Masterworks from
Across the Buddhist World, Sotheby’s, New York,
2013, cat. no. 16
圖一
十五世紀 時輪金剛唐卡
出處：《Footsteps of the Buddha: Masterworks from
Across the Buddhist World》，蘇富比，紐約，2013
年，編號16

This unique sculpture is a rare early Ming interpretation of a an Emperor: a Yung-lo Embroidery Thangka”, Apollo Magazine,
model originally popularised in Tibet. It depicts the Buddhist November 2008.
deity Kalachakra, with the semi-wrathful deity depicted in
It is extremely rare to find silver on Chinese sculpture, but
union with his prajña Vishvamata, Mother of the Universe.
it is relatively frequently found on Tibetan bronzes, where it
The deities represent one of the most complex practices of
is used to denote the iconographic colour of deities such as
the Unexcelled Yoga Tantras in Tibetan Vajrayana Buddhism.
Sitatara, the goddess of longevity, colloquially known as White
The Kālachakra tradition revolves around the concept of time
Tara. Silver statues furthermore are commonly attached to
(kāla) and cycles (chakra), teaching the practice of working
gilt copper pedestals to contrast and highlight the precious
with the most subtle energies within one’s body on the path to
metal. See, for example, a fifteenth century silver Milarepa on
enlightenment.
a gilt copper pedestal in the Nyingjei Lam Collection, illustrated
Kalachakra is depicted here with four heads and twenty-four in David Weldon and Casey Singer, The Sculptural Heritage
arms, with his principal head and upper body symbolising of Tibet: Buddhist Art in the Nyingjei Lam Collection, London,
great wisdom, his face representing passion. The couple 1999, p. 179, pl. 43. The use of silver with a contrasting gilt-
represent the embodiment of wisdom and compassion, the copper pedestal is inspired by medieval eastern Indian Pala
goal of Tibetan meditational practise leading to enlightenment sculptural traditions; compare a Pala example illustrated ibid.,
and salvation of sentient beings. For an exhaustive treatise on p. 22, fig. 15.
the Kalachakra Tantra see Martin Brauen, The Mandala: Sacred
Kalachakra is much more frequently found in painting. For a
Circle in Tibetan Buddhism, Serindia Publications, London,
15th century thangka of Kalachakra, see the thangka included
1997.
in the exhibition, Footsteps of the Buddha: Masterworks from
The earliest published bronze figure of Kalachakra in Across the Buddhist World, Sotheby’s, New York, 2013, cat.
Tibetan art appears to be the 14th century gilt-bronze figure no. 16 (fig. 1). For later Tibetan examples in metalwork, see a
of Kalachakra and Vishvamata kept at Shalu monastery, gilt-bronze figure of Kalachakra ascribed to the 16th century,
illustrated in Ulrich von Schroeder, Buddhist Bronzes in Tibet, illustrated in Ulrich von Schroeder, Indo Tibetan Bronzes, Hong
Hong Kong, 2001, Vol. II, p. 965, pl. 232C. A 15th century gilt- Kong, 1981, pp. 115-6, pl. 116E and 116F.
bronze figure of Kalachakra from the collection of John and
The Kalachakra deity was revered at the Imperial Qing
Berthe Ford is illustrated in Marylin M. Rhie, and Robert A. F.
court, and Qianlong reign-marked figures of Kalachakra are
Thurman, Wisdom and Compassion: The Sacred Art of Tibet,
frequently found. See a figure of Kalachakra, cast in copper but
New York, 1996, p. 480, pl. 236, where the author argues for
inscribed with a Qianlong seven-character mark, from the Qing
an Eastern Tibet provenance, on account of the more sinicised
Court collection and still in Beijing, illustrated in Cultural Relics
aspects of it, especially the treatment of the lotus, the slim
of Tibetan Buddhism Collected in the Qing Palace, Beijing,
proportions of the figures and the base itself.
1992, p. 221, pl. 69; one sold at Parke-Bernet Galleries, New
On the current sculpture, the overall form, physiognomy and York, 6th October 1945, lot 279 and now in the collection of
attributes are very crisply cast with minute attention to detail, the Jacques Marchais Museum of Tibetan Art, illustrated in
characteristic of the highest quality craftsmanship of early Barbara Lipton and Nima Dorjee Ragnubs, Treasures of Tibetan
Ming foundries in Nanjing or Beijing. The Yongle Emperor is Art: Collections of the Jacques Marchais Museum of Tibetan
recorded as having received various empowerments including Art, New York, 1996, no. 35, and another similar example sold
the Kalachakra initiation from the lama Shakya Yeshe after he in our London rooms, 4th November 2009, lot 215.
was received at Nanjing in 1414. See Amy Heller “Homage by
IMPORTANT CHINESE ART 167