LOT 4
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A GILT COPPER ALLOY FIGURE OF MAITREYA CENTRAL TIBET, 11TH 12TH CENTURY
作品估价：HKD 4,000,000-6,000,000
货币换算
成交状态：流拍
买家佣金拍卖企业在落槌价的基础上收取买家佣金
28%
图录号：
4
拍品名称：
A GILT COPPER ALLOY FIGURE OF MAITREYA CENTRAL TIBET, 11TH 12TH CENTURY
拍品描述：
CENTRAL TIBET, 11TH/12TH CENTURY
Himalayan Art Resources item no. 2805
49.3 cm (19 3/8 in.) high
The result of Oxford thermoluminescence test number N207f28 (23 October 2007) is consistent with the dating of this lot.
Published
Meinrad Maria Grewenig & Eberhard Rist (eds.), Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, pp. 352-3, no. 149.
Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 — 19 February 2017.
Acquired in New York, 2007
銅鎏金彌勒像
藏中 十一/十二世紀
本拍品經牛津熱釋光檢測（編號 N207f28；2007年10月23日），結果與其斷代相符。
著錄
Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha: 2000 Years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年，頁352-3，編號149
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
來源
入藏於紐約，2007年
This exceptionally rare sculpture of Maitreya stems from a period marking both an early revival of Buddhism in Tibet and a formative phase in Tibetan Buddhist art. Half a meter tall, the lithe figure would have likely formed a triad for a shrine, with Buddha Shakyamuni flanked by the two bodhisattvas, probably Avalokiteshvara and this Maitreya. Framed by prominent upswept crown ribbons and regal locks descending to the shoulders, the portrait's blend of Indian and Tibetan physiognomy results in a handsome, dignified countenance. The Great Bodhisattva of Loving Kindness has a strong, lissome physique. The right foot is cast slightly forward, its toes extending beyond the lotus pedestal, a nuance that heightens the figure's contrapposto and is repeated in other Central Tibetan bronzes of the 11th/12th century. A sinuous sacred cord draped over his left shoulder and a jeweled pendant descending across his right inner thigh accentuate his swayed posture. Maitreya, who is also revered as the Buddha of the Future, displays the teaching gesture (vitarka mudra) with his right hand raised toward the viewer while resting the left by his side. Rising from the base, a lotus stem winds by his left flank and blooms a water pot by his shoulder. One unfurled leaf lingers, cradling the vessel as if to prevent it from falling away from Maitreya's side. This inspired bronze is stylistically akin to a mere handful of other sculptures surviving from this formative period. Given its complete iconography and gilded luster, it is undoubtedly among the best-preserved examples.
This impressive figure shares numerous characteristics with the artistic program of a series of monuments in Central Tibet produced in the 11th century. These projects, located at Shalu, Nyethang, Yemar, Kyangpu, and Drathang (hereafter, the "Shalu-Drathang group"), were undertaken at the onset of the Second Diffusion of Buddhism in Tibet (c. 978-1100). The delicate floral patterns lightly chased within the sculpture's diaphanous lower garment are the first elements associated with the Shalu-Drathang group. Derived from Indian textile designs, similar motifs appear on the dhoti of a c. 12th-century bronze Pala bronze of Maitreya at a temple in Nyethang (Henss, The Cultural Monuments of Tibet, vol. I, 2014, p. 265, no. 395; also published in von Schroeder, Buddhist Sculptures in Tibet, vol. I, p. 315, no. 108B). Nyethang served as the first sanctuary for the relics of Atisha (982-1054), a pandit from northeastern India who was one of the greatest masters of Indo-Tibetan Buddhism and the foremost representative of the Second Diffusion in Tibet. The Nyethang Maitreya is cast in the Pala-Sena style of northeastern India (11th/12th centuries). It is thought to have either been brought from India or made by an Indian artist working in situ (Henss, op. cit., vol. I, 2014, p. 266). The daisy-like roundels in its lower garment are mirrored in half rosettes across the present figure's lower thigh. The motif is found elsewhere across the Shalu-Drathang group. For instance, it covers the princely garb of a bodhisattva at Drathang (fig. 1).
Produced between 1081-93, the murals of Drathang correlate closely to the present lot. Inspiration from the Pala-Sena style is apparent throughout. For example, while the present Maitreya's handsome face has a squarer, more Tibetan physiognomy than Buddhist bronzes made in India around the 11th century, his mouth, eyes, and brow mimic features of the Pala style—a combination present throughout the host of bodhisattvas painted at Drathang. Compare the treatment of the plump lower lip and recessed rounded corner of the smile of a painted Maitreya (fig. 2). The present sculpture also adopts the undulating upper lid and prominent pupil of Maitreya's eye, as well as his sinuous brow with upturned ends. The largest band within this Maitreya's dhoti is decorated with intricate floral scrolls eschewing from the tails of a sacred goose (hamsa) on the left and of mythic makara on the right. The hamsa holds a string of beads in its beak, a motif directly borrowed from Pala art, which can be seen stone steles of Brahma, for instance, and an 11th-century painted palm-leaf manuscript cover depicting Prajnaparamita located in the Bodleian Library, Oxford (MS. Sansk. A.7; Barrett, Painting of India, 1963, p. 52). Created by an artist who closely understood the Pala tradition, this large and beautiful gilded Maitreya provides a rare glimpse into the formative period of the Second Diffusion, when Tibet revived its patronage of Buddhism.
This figure compares favorably to another, slightly later, Tibetan bronze redolent of the Pala style, also cast as a gilded figure on a coppery, non-gilded base, and which is preserved in the Potala Palace Collection, Lhasa, and published in von Schroeder, Buddhist Sculptures in Tibet, Vol. 2, 2003, no. 251A.
此尊極為罕見之彌勒菩薩像出自一段佛教之早期復興與藏傳佛教藝術形成的時期。佛像體態柔美靈動，高達半米，應曾為一神龕中的一佛二菩薩三尊像之一，或與觀世音菩薩分別立於釋迦牟尼佛身側。佛像融合了印度與西藏的相貌，在向上飛揚的頭冠飾帶和垂至肩部的華貴長髮相襯托之間，呈現出英俊莊嚴的面容。彌勒菩薩以大慈度衆，體格強健，身姿頎長俊秀。其右腳微微前傾，腳趾踏出蓮台之外，這一細微精妙的移動感令其更見對立平衡式的姿態之美，且在十一至十二世紀藏中地區其他造像中亦有體現。一條流轉的聖綫垂掛於左肩，寶石珠串落於右腿前，烘托其搖擺之姿。彌勒亦是未來佛，其右手向觀者舉起，結說法印，左手則自然垂於身側。一根蓮花莖自底部蜿蜒升起於其身左側，於左肩之花心處結一寳瓶。蓮花一葉舒展向上，托住寳瓶，彷彿是為防止寶瓶掉落。此尊造像與其他屈指可數的幾尊造像共同屬於佛教藝術發展的關鍵時期，具有標誌性的意義。鑑於其完整的圖像以及柔美的鎏金光澤，無疑為此中保存最完好的造像之一。
此像與十一世紀西藏中部一系列宗教聖地之佛教藝術有諸多共同之處。這些古老的寺廟造像群，即夏魯寺、聶唐寺、葉瑪寺、康普寺與扎塘寺（「夏魯-扎塘」寺廟群），興建於藏傳佛教後弘期的開端(公元978-1100年)。輕柔細密的下衣刻精緻花卉圖案，是此彌勒與「夏魯-扎塘」寺廟群相聯繫的明顯特徵之一。這種圖樣源自印度織物設計，類似圖案出現於聶唐寺一尊約十二世紀帕拉風格彌勒銅像的天衣上（Henss，《The Cultural Monuments of Tibet》，卷一，2014年，頁265， 編號395；亦發表於von Schroeder，《Buddhist Sculptures in Tibet》，卷一，頁315，編號108B）。聶唐為阿底峽尊者（982-1054年）舍利的第一個供奉之處。阿底峽為印度東北部的一位班智達，亦是印度及西藏最偉大的高僧之一，被視爲藏傳佛教後弘期最重要的代表人物。 聶唐寺彌勒像沿用印度東北部帕拉-色那風格（十一/十二世紀），或是從印度被人帶至西藏，或由一位印度藝術家於當地創作（Henss，同上，卷一，2014年，頁266 ）。另外，其天衣中的雛菊團窠案與此尊彌勒像大腿處所見的半圓花形圖樣遙相呼應。該圖案在「夏魯-扎塘」寺廟群他處亦有出現，例如一位扎塘寺菩薩像之王子裝上（圖1）。
創作於1081-1093年間的扎塘寺壁畫與本拍品密切相關。來自帕拉-色那風格之靈感貫穿始終。例如，與十一世紀左右印度佛教銅像相比，本尊彌勒英俊的臉龐具有更為方正、更接近藏式的相貌，但他的嘴部、眼睛和眉毛卻模仿帕拉特徵——這一組合在扎塘的眾多菩薩畫像中皆有體現。可參考一幅彌勒畫像的豐滿下唇與微笑時嘴角處凹陷的處理（圖2）。 此尊彌勒像亦採用波浪般起伏的上眼瞼與醒目的瞳孔，以及細長而彎曲、眉梢上翹的眉形。托蒂中最大的一條飾帶裝飾著複雜的花卉捲葉，如自靈鳥桓娑尾巴盤旋而出，右側與之呼應之神獸則為摩竭。桓娑嘴銜珠串，此圖案借鑒自帕拉藝術，可見於梵天石碑，以及位於牛津博德利圖書館繪有般若佛母的十一世紀彩繪貝葉經封面（MS. Sansk. A.7；Barrett著，《Painting of India》，1963年，頁52）。此尊巨大而優美的銅鎏金彌勒像無疑由一位對帕拉傳統頗有了解的藝術家製作，令人們罕有地得以一觀佛教後弘期——那段佛教於西藏得以弘揚的歷史。
此拍品與另一件稍晚的帕拉風格西藏銅像相比，顯得更爲精美，該同稍晚之例同樣為鎏金像置於未經鎏金的底座之上，存於拉薩布達拉宮，著錄於von Schroeder之《Buddhist Sculptures in Tibet》，卷二，2003年，編號251A。
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。
Himalayan Art Resources item no. 2805
49.3 cm (19 3/8 in.) high
The result of Oxford thermoluminescence test number N207f28 (23 October 2007) is consistent with the dating of this lot.
Published
Meinrad Maria Grewenig & Eberhard Rist (eds.), Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, pp. 352-3, no. 149.
Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 — 19 February 2017.
Acquired in New York, 2007
銅鎏金彌勒像
藏中 十一/十二世紀
本拍品經牛津熱釋光檢測（編號 N207f28；2007年10月23日），結果與其斷代相符。
著錄
Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha: 2000 Years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年，頁352-3，編號149
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
來源
入藏於紐約，2007年
This exceptionally rare sculpture of Maitreya stems from a period marking both an early revival of Buddhism in Tibet and a formative phase in Tibetan Buddhist art. Half a meter tall, the lithe figure would have likely formed a triad for a shrine, with Buddha Shakyamuni flanked by the two bodhisattvas, probably Avalokiteshvara and this Maitreya. Framed by prominent upswept crown ribbons and regal locks descending to the shoulders, the portrait's blend of Indian and Tibetan physiognomy results in a handsome, dignified countenance. The Great Bodhisattva of Loving Kindness has a strong, lissome physique. The right foot is cast slightly forward, its toes extending beyond the lotus pedestal, a nuance that heightens the figure's contrapposto and is repeated in other Central Tibetan bronzes of the 11th/12th century. A sinuous sacred cord draped over his left shoulder and a jeweled pendant descending across his right inner thigh accentuate his swayed posture. Maitreya, who is also revered as the Buddha of the Future, displays the teaching gesture (vitarka mudra) with his right hand raised toward the viewer while resting the left by his side. Rising from the base, a lotus stem winds by his left flank and blooms a water pot by his shoulder. One unfurled leaf lingers, cradling the vessel as if to prevent it from falling away from Maitreya's side. This inspired bronze is stylistically akin to a mere handful of other sculptures surviving from this formative period. Given its complete iconography and gilded luster, it is undoubtedly among the best-preserved examples.
This impressive figure shares numerous characteristics with the artistic program of a series of monuments in Central Tibet produced in the 11th century. These projects, located at Shalu, Nyethang, Yemar, Kyangpu, and Drathang (hereafter, the "Shalu-Drathang group"), were undertaken at the onset of the Second Diffusion of Buddhism in Tibet (c. 978-1100). The delicate floral patterns lightly chased within the sculpture's diaphanous lower garment are the first elements associated with the Shalu-Drathang group. Derived from Indian textile designs, similar motifs appear on the dhoti of a c. 12th-century bronze Pala bronze of Maitreya at a temple in Nyethang (Henss, The Cultural Monuments of Tibet, vol. I, 2014, p. 265, no. 395; also published in von Schroeder, Buddhist Sculptures in Tibet, vol. I, p. 315, no. 108B). Nyethang served as the first sanctuary for the relics of Atisha (982-1054), a pandit from northeastern India who was one of the greatest masters of Indo-Tibetan Buddhism and the foremost representative of the Second Diffusion in Tibet. The Nyethang Maitreya is cast in the Pala-Sena style of northeastern India (11th/12th centuries). It is thought to have either been brought from India or made by an Indian artist working in situ (Henss, op. cit., vol. I, 2014, p. 266). The daisy-like roundels in its lower garment are mirrored in half rosettes across the present figure's lower thigh. The motif is found elsewhere across the Shalu-Drathang group. For instance, it covers the princely garb of a bodhisattva at Drathang (fig. 1).
Produced between 1081-93, the murals of Drathang correlate closely to the present lot. Inspiration from the Pala-Sena style is apparent throughout. For example, while the present Maitreya's handsome face has a squarer, more Tibetan physiognomy than Buddhist bronzes made in India around the 11th century, his mouth, eyes, and brow mimic features of the Pala style—a combination present throughout the host of bodhisattvas painted at Drathang. Compare the treatment of the plump lower lip and recessed rounded corner of the smile of a painted Maitreya (fig. 2). The present sculpture also adopts the undulating upper lid and prominent pupil of Maitreya's eye, as well as his sinuous brow with upturned ends. The largest band within this Maitreya's dhoti is decorated with intricate floral scrolls eschewing from the tails of a sacred goose (hamsa) on the left and of mythic makara on the right. The hamsa holds a string of beads in its beak, a motif directly borrowed from Pala art, which can be seen stone steles of Brahma, for instance, and an 11th-century painted palm-leaf manuscript cover depicting Prajnaparamita located in the Bodleian Library, Oxford (MS. Sansk. A.7; Barrett, Painting of India, 1963, p. 52). Created by an artist who closely understood the Pala tradition, this large and beautiful gilded Maitreya provides a rare glimpse into the formative period of the Second Diffusion, when Tibet revived its patronage of Buddhism.
This figure compares favorably to another, slightly later, Tibetan bronze redolent of the Pala style, also cast as a gilded figure on a coppery, non-gilded base, and which is preserved in the Potala Palace Collection, Lhasa, and published in von Schroeder, Buddhist Sculptures in Tibet, Vol. 2, 2003, no. 251A.
此尊極為罕見之彌勒菩薩像出自一段佛教之早期復興與藏傳佛教藝術形成的時期。佛像體態柔美靈動，高達半米，應曾為一神龕中的一佛二菩薩三尊像之一，或與觀世音菩薩分別立於釋迦牟尼佛身側。佛像融合了印度與西藏的相貌，在向上飛揚的頭冠飾帶和垂至肩部的華貴長髮相襯托之間，呈現出英俊莊嚴的面容。彌勒菩薩以大慈度衆，體格強健，身姿頎長俊秀。其右腳微微前傾，腳趾踏出蓮台之外，這一細微精妙的移動感令其更見對立平衡式的姿態之美，且在十一至十二世紀藏中地區其他造像中亦有體現。一條流轉的聖綫垂掛於左肩，寶石珠串落於右腿前，烘托其搖擺之姿。彌勒亦是未來佛，其右手向觀者舉起，結說法印，左手則自然垂於身側。一根蓮花莖自底部蜿蜒升起於其身左側，於左肩之花心處結一寳瓶。蓮花一葉舒展向上，托住寳瓶，彷彿是為防止寶瓶掉落。此尊造像與其他屈指可數的幾尊造像共同屬於佛教藝術發展的關鍵時期，具有標誌性的意義。鑑於其完整的圖像以及柔美的鎏金光澤，無疑為此中保存最完好的造像之一。
此像與十一世紀西藏中部一系列宗教聖地之佛教藝術有諸多共同之處。這些古老的寺廟造像群，即夏魯寺、聶唐寺、葉瑪寺、康普寺與扎塘寺（「夏魯-扎塘」寺廟群），興建於藏傳佛教後弘期的開端(公元978-1100年)。輕柔細密的下衣刻精緻花卉圖案，是此彌勒與「夏魯-扎塘」寺廟群相聯繫的明顯特徵之一。這種圖樣源自印度織物設計，類似圖案出現於聶唐寺一尊約十二世紀帕拉風格彌勒銅像的天衣上（Henss，《The Cultural Monuments of Tibet》，卷一，2014年，頁265， 編號395；亦發表於von Schroeder，《Buddhist Sculptures in Tibet》，卷一，頁315，編號108B）。聶唐為阿底峽尊者（982-1054年）舍利的第一個供奉之處。阿底峽為印度東北部的一位班智達，亦是印度及西藏最偉大的高僧之一，被視爲藏傳佛教後弘期最重要的代表人物。 聶唐寺彌勒像沿用印度東北部帕拉-色那風格（十一/十二世紀），或是從印度被人帶至西藏，或由一位印度藝術家於當地創作（Henss，同上，卷一，2014年，頁266 ）。另外，其天衣中的雛菊團窠案與此尊彌勒像大腿處所見的半圓花形圖樣遙相呼應。該圖案在「夏魯-扎塘」寺廟群他處亦有出現，例如一位扎塘寺菩薩像之王子裝上（圖1）。
創作於1081-1093年間的扎塘寺壁畫與本拍品密切相關。來自帕拉-色那風格之靈感貫穿始終。例如，與十一世紀左右印度佛教銅像相比，本尊彌勒英俊的臉龐具有更為方正、更接近藏式的相貌，但他的嘴部、眼睛和眉毛卻模仿帕拉特徵——這一組合在扎塘的眾多菩薩畫像中皆有體現。可參考一幅彌勒畫像的豐滿下唇與微笑時嘴角處凹陷的處理（圖2）。 此尊彌勒像亦採用波浪般起伏的上眼瞼與醒目的瞳孔，以及細長而彎曲、眉梢上翹的眉形。托蒂中最大的一條飾帶裝飾著複雜的花卉捲葉，如自靈鳥桓娑尾巴盤旋而出，右側與之呼應之神獸則為摩竭。桓娑嘴銜珠串，此圖案借鑒自帕拉藝術，可見於梵天石碑，以及位於牛津博德利圖書館繪有般若佛母的十一世紀彩繪貝葉經封面（MS. Sansk. A.7；Barrett著，《Painting of India》，1963年，頁52）。此尊巨大而優美的銅鎏金彌勒像無疑由一位對帕拉傳統頗有了解的藝術家製作，令人們罕有地得以一觀佛教後弘期——那段佛教於西藏得以弘揚的歷史。
此拍品與另一件稍晚的帕拉風格西藏銅像相比，顯得更爲精美，該同稍晚之例同樣為鎏金像置於未經鎏金的底座之上，存於拉薩布達拉宮，著錄於von Schroeder之《Buddhist Sculptures in Tibet》，卷二，2003年，編號251A。
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。