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A THANGKA OF SHAKYAMUNI BUDDHA WEST TIBET, 13TH CENTURY
作品估价：HKD 1,000,000-1,500,000
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成交状态：流拍
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图录号：
3
拍品名称：
A THANGKA OF SHAKYAMUNI BUDDHA WEST TIBET, 13TH CENTURY
拍品描述：
WEST TIBET, 13TH CENTURY
Distemper and gold on cloth; verso with the outline of a stupa in red ink.
Himalayan Art Resources item no. 2808
Image: 42 x 40 cm (16 1/2 x 15 3/4 in.);With silks: 78 x 48 cm (30 3/4 x 18 7/8 in.)
Published
S.V.D. Schulenburg, E. Hessel, K. Schmidt, M. Wagner (eds.), Buddha, Museum Angewandte Kunst Frankfurt am Main, Cologne, 2015, cat. no. 87.
Meinrad Maria Grewenig & Eberhard Rist (eds.), Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, pp. 360-1, no. 153.
Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 — 19 February 2017.
釋迦牟尼唐卡
藏西 十三世紀
布面設色並金彩；背面繪紅色佛塔線稿
著錄
S.V.D. Schulenburg，E. Hessel, K. Schmidt 及 M. Wagner 編，《Buddha》，Museum Angewandte Kunst Frankfurt am Main，科隆，2015年，圖錄編號87
Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha：2000 Years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年，頁360-1，編號153
展覽
「 Buddha：2000 Years of Buddhist Art，232 Masterpieces 」，弗爾克林根，2016年6月24日至2017年2月19日
Seated on a lion throne and encircled by rings of prismatic light is the Buddha Shakyamuni, who is seen here with his right hand in the touching earth gesture (bhumisparsha mudra). Standing on the left is Maitreya, the white-skinned bodhisattva who loosely suspends a waterpot from his hand, and on the right, the yellow-skinned Manjushri with a tendril and flower over his right shoulder. Mythological animals adorn the throne, including two elephants, two vyalas, two wild geese holding golden vines, and a winged Garuda at the apex. The register behind the throne shows two projecting branches alluding to the bodhi tree under which the Buddha attained enlightenment. A small congregation of eighteen monks joins the Buddha, located in the upper portion of the thangka, each encased in a red throne back and holding various mudras. Twelve worldly guardians feature in the tier beneath the lotus-lion throne. They symbolize the all-encompassing power to repel evil and bestow wealth to devotees, each holding various attributes including a noose, sword, battle-axe, and khatvangha.
The art of Kashmir and eastern Nepal influenced the style of this painting from West Tibet. The treatment of the figures' heavy eyelids and the long braided locks trailing down the bodhisattvas' shoulders follow Kashmiri attributes comparable to sculptural examples including one circa 10th Avalokiteshvara (von Schroeder, Buddhist Sculptures in Tibet, Vol. I, 2001, p. 183, no. 53B). The influence of Nepalese manuscript pages appears in the blue background peppered with floating flowers, the multi-lobed crown of the bodhisattvas, and the floral decorations along the Buddha's robe. Influential prototypes of Buddhist deities are illustrated on a Nepalese manuscript of the 11th century (fig. 1; The Metropolitan Museum of Art, New York, 1976.192.1, .2).
The syncretic style of West Tibet is primarily associated with the Guge kings who ruled the region beginning in the 10th century. A painting in the Cleveland Museum of Art (fig. 2; 2000.68) from western Tibet, attributed to the 12th century, depicts Amitabha with an almost identical facial type and styling of hair to the Buddha in this thangka. The flanking bodhisattvas in both images show a similar treatment of their hair and body posture. The art of Mustang, in modern-day Nepal, shares several idioms with that of West Tibet. A mural of the Buddha in Luri cave (HAR 47545) features a similarly shaped hem across the Buddha's chest and triangular projections along the throne back. The similarities between this Buddha and the Cleveland and Mustang examples articulate the emergence of a style that builds on its early Kashmiri influences while incorporating elements of the broadly known Newar influences in Tibet.
釋迦牟尼於獅座上結全跏趺而坐，周身圍繞絢麗光環，右手結觸地印，莊嚴殊勝。佛陀右手旁為彌勒，膚色皎潔，其手鬆握一寶瓶，另一側則為文殊菩薩，膚黃色，藤蔓與花朵依右肩蔓延而升。寶座背光以神聖生靈為飾，包括兩尊大象、兩隻耶利、兩隻銜金藤之白禽，以及位於頂端展開雙翼的金翅鳥迦樓羅。兩根樹枝自寶座後方伸出，暗喻釋迦牟尼在菩提樹下成佛。十八位僧侶與佛祖共座，排列於唐卡的上方。各僧侶皆由紅色法座背光圍繞，手中結印各異。蓮花獅座下方有十二位護世者，象徵為信徒驅邪除惡、護持財富的無所不能之力。 各護世者持握不同法器，如索、劍、斧和天杖喀章嘎。
克什米爾與尼泊爾東部藝術影響著此幅藏西唐卡之風格。人物眼瞼厚重，長髮結綹並垂落菩薩肩頭，皆遵循克什米爾特徵，可與一尊約十世紀之觀音像相對照（von Schroeder，《Buddhist Sculptures in Tibet》，卷一，2001年，頁183 ，編號53B）。尼泊爾經書的影響則體現在平鋪花朵的藍色背景、文殊與彌勒二菩薩之多葉寶冠以及佛陀長袍上的花卉裝飾。現存一件十一世紀尼泊爾經書，即繪有對後世頗具影響力的佛教眾神祇的原型（圖1；大都會藝術博物館，紐約，1976.192.1, .2）。
藏西藝術的融合性風格主要與十世紀始統治該地區的古格王朝有關。克利夫蘭藝術博物館現藏一幅定為十二世紀之佛教畫作（圖2；2000.68），所繪無量光佛與此唐卡中的佛陀有著幾乎相同的面部和髮型。兩側協侍菩薩之頭髮和身體姿勢之處理均有相似之處。位於現今尼泊爾的木斯塘地區的藝術風格與藏西多有共同之處。盧立洞（Luri；喜馬拉雅藝術資源網47545號) 中的一幅佛陀壁畫亦帶有胸前而過的相似衣緣和寶座背光外緣的三角突起。此拍品與克利夫蘭館藏以及木斯塘壁畫之間的相似之處清楚地表明著一種獨特風格的出現，其最初建立於早期克什米爾的影響之上，同時融入了在西藏廣為人知的紐瓦爾細節。
For the figures listed in this essay, please refer to our printed or digital catalogue.
關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。
Distemper and gold on cloth; verso with the outline of a stupa in red ink.
Himalayan Art Resources item no. 2808
Image: 42 x 40 cm (16 1/2 x 15 3/4 in.);With silks: 78 x 48 cm (30 3/4 x 18 7/8 in.)
Published
S.V.D. Schulenburg, E. Hessel, K. Schmidt, M. Wagner (eds.), Buddha, Museum Angewandte Kunst Frankfurt am Main, Cologne, 2015, cat. no. 87.
Meinrad Maria Grewenig & Eberhard Rist (eds.), Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, pp. 360-1, no. 153.
Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 — 19 February 2017.
釋迦牟尼唐卡
藏西 十三世紀
布面設色並金彩；背面繪紅色佛塔線稿
著錄
S.V.D. Schulenburg，E. Hessel, K. Schmidt 及 M. Wagner 編，《Buddha》，Museum Angewandte Kunst Frankfurt am Main，科隆，2015年，圖錄編號87
Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha：2000 Years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年，頁360-1，編號153
展覽
「 Buddha：2000 Years of Buddhist Art，232 Masterpieces 」，弗爾克林根，2016年6月24日至2017年2月19日
Seated on a lion throne and encircled by rings of prismatic light is the Buddha Shakyamuni, who is seen here with his right hand in the touching earth gesture (bhumisparsha mudra). Standing on the left is Maitreya, the white-skinned bodhisattva who loosely suspends a waterpot from his hand, and on the right, the yellow-skinned Manjushri with a tendril and flower over his right shoulder. Mythological animals adorn the throne, including two elephants, two vyalas, two wild geese holding golden vines, and a winged Garuda at the apex. The register behind the throne shows two projecting branches alluding to the bodhi tree under which the Buddha attained enlightenment. A small congregation of eighteen monks joins the Buddha, located in the upper portion of the thangka, each encased in a red throne back and holding various mudras. Twelve worldly guardians feature in the tier beneath the lotus-lion throne. They symbolize the all-encompassing power to repel evil and bestow wealth to devotees, each holding various attributes including a noose, sword, battle-axe, and khatvangha.
The art of Kashmir and eastern Nepal influenced the style of this painting from West Tibet. The treatment of the figures' heavy eyelids and the long braided locks trailing down the bodhisattvas' shoulders follow Kashmiri attributes comparable to sculptural examples including one circa 10th Avalokiteshvara (von Schroeder, Buddhist Sculptures in Tibet, Vol. I, 2001, p. 183, no. 53B). The influence of Nepalese manuscript pages appears in the blue background peppered with floating flowers, the multi-lobed crown of the bodhisattvas, and the floral decorations along the Buddha's robe. Influential prototypes of Buddhist deities are illustrated on a Nepalese manuscript of the 11th century (fig. 1; The Metropolitan Museum of Art, New York, 1976.192.1, .2).
The syncretic style of West Tibet is primarily associated with the Guge kings who ruled the region beginning in the 10th century. A painting in the Cleveland Museum of Art (fig. 2; 2000.68) from western Tibet, attributed to the 12th century, depicts Amitabha with an almost identical facial type and styling of hair to the Buddha in this thangka. The flanking bodhisattvas in both images show a similar treatment of their hair and body posture. The art of Mustang, in modern-day Nepal, shares several idioms with that of West Tibet. A mural of the Buddha in Luri cave (HAR 47545) features a similarly shaped hem across the Buddha's chest and triangular projections along the throne back. The similarities between this Buddha and the Cleveland and Mustang examples articulate the emergence of a style that builds on its early Kashmiri influences while incorporating elements of the broadly known Newar influences in Tibet.
釋迦牟尼於獅座上結全跏趺而坐，周身圍繞絢麗光環，右手結觸地印，莊嚴殊勝。佛陀右手旁為彌勒，膚色皎潔，其手鬆握一寶瓶，另一側則為文殊菩薩，膚黃色，藤蔓與花朵依右肩蔓延而升。寶座背光以神聖生靈為飾，包括兩尊大象、兩隻耶利、兩隻銜金藤之白禽，以及位於頂端展開雙翼的金翅鳥迦樓羅。兩根樹枝自寶座後方伸出，暗喻釋迦牟尼在菩提樹下成佛。十八位僧侶與佛祖共座，排列於唐卡的上方。各僧侶皆由紅色法座背光圍繞，手中結印各異。蓮花獅座下方有十二位護世者，象徵為信徒驅邪除惡、護持財富的無所不能之力。 各護世者持握不同法器，如索、劍、斧和天杖喀章嘎。
克什米爾與尼泊爾東部藝術影響著此幅藏西唐卡之風格。人物眼瞼厚重，長髮結綹並垂落菩薩肩頭，皆遵循克什米爾特徵，可與一尊約十世紀之觀音像相對照（von Schroeder，《Buddhist Sculptures in Tibet》，卷一，2001年，頁183 ，編號53B）。尼泊爾經書的影響則體現在平鋪花朵的藍色背景、文殊與彌勒二菩薩之多葉寶冠以及佛陀長袍上的花卉裝飾。現存一件十一世紀尼泊爾經書，即繪有對後世頗具影響力的佛教眾神祇的原型（圖1；大都會藝術博物館，紐約，1976.192.1, .2）。
藏西藝術的融合性風格主要與十世紀始統治該地區的古格王朝有關。克利夫蘭藝術博物館現藏一幅定為十二世紀之佛教畫作（圖2；2000.68），所繪無量光佛與此唐卡中的佛陀有著幾乎相同的面部和髮型。兩側協侍菩薩之頭髮和身體姿勢之處理均有相似之處。位於現今尼泊爾的木斯塘地區的藝術風格與藏西多有共同之處。盧立洞（Luri；喜馬拉雅藝術資源網47545號) 中的一幅佛陀壁畫亦帶有胸前而過的相似衣緣和寶座背光外緣的三角突起。此拍品與克利夫蘭館藏以及木斯塘壁畫之間的相似之處清楚地表明著一種獨特風格的出現，其最初建立於早期克什米爾的影響之上，同時融入了在西藏廣為人知的紐瓦爾細節。
For the figures listed in this essay, please refer to our printed or digital catalogue.
關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。