LOT 103
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A SILVER AND COPPER INLAID GILT COPPER ALLOY FIGURE OF A KAGYU LAMA TIBET, 13TH 14TH CENTURY
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图录号：
103
拍品名称：
A SILVER AND COPPER INLAID GILT COPPER ALLOY FIGURE OF A KAGYU LAMA TIBET, 13TH 14TH CENTURY
拍品描述：
TIBET, 13TH/14TH CENTURY
Himalayan Art Resources item no. 2810
15.8 cm (6 1/4 in.) high
銅鎏金錯銀錯紅銅噶舉上師像
西藏 十三/十四世紀
A Kagyu lama with enlarged ears and wavy hair sits with crossed legs on an ornate double-lotus throne. He extends his right arm in the same gesture that affirmed the Buddha's enlightenment (bhumisparsha mudra). The lama wears the patchwork garments worn by the Buddha's monastic disciples draped over his lion-chested torso, embellished with silver and gold, conferring a sense of spiritual radiance on the person. His portrayal is a convergence of the Historical Buddha's enlightenment under the bodhi tree in Bodh Gaya, India, and his own, dissolving boundaries of time and space to connect a lineage of great Tibetan masters with the Buddhist homeland. Many Kagyu portraits of Central Tibet follow this iconographic convention, as their principal lineage holder, Phagmodrupa (1110-70), was himself considered a Second Buddha.
The visual rhetoric used to portray the lama parallels others produced by the early Kagyu orders of Central Tibet during the 13th and 14th centuries. The application of silver-inlaid beaded hems of the robes appears on two other gilt lamas linked to the disciples of Phagmodrupa in Central Tibet. The first portrays Jigten Sumgon Rinchen Pel (1143-1217), the founder of the Drigung order, and the other of a Taklung Kagyu Lama from an order descending from Tashipel (1142-1210) whose immediate teacher was Phagmodrupa (Bonhams, Hong Kong, 5 October, 2020, lots 5 & 8, respectively). The lamas of these two Kagyu schools and the sculpture here are presented cohesively through the styling of their patchwork robes, athletic bodies, and defined hairlines. The shirt design chronologizes the portrait within an earlier representative style of monastics—the rounded edge and curved hem along the chest correlate to fashions predating the early 15th century.
The outer robe lays across the top of the shoulders in a manner often visible in portraiture of Phagmodrupa (Weldon & Singer, The Sculptural Heritage of Tibet, London, 1999, p 135, fig. 50). It is a convention applied to abbot portraiture in both Drigung and Taklung orders. During the late 13th/early 14th century, both orders sought to strengthen their legitimacy by conveying their historical lineage vis-a-vis their connection to Phagmodrupa and their status as an order by memorializing their hierarchs. These lustrous commemorations coincided with economic and political growth for both orders in the late 13th and 14th centuries. Taklung monastery, under the fourth abbot, Tashi Lama (1231-97), received economic support from Khubilai Khan and the pre-eminent Sakya order. Drigung monastery, too, enjoyed great wealth and patronage in the late 12th/13th centuries. Both monasteries were damaged following these periods - Drigung in 1297 and Taklung in 1548 - making the determination of provenance impossible. Still, this silver-inlaid gilt-bronze portrait honors the Buddha and the lineage of early Kagyu masters in portraying this esteemed hierarch.
Another closely related unidentified lama is held in the Museum der Kulturen, Basel, published in Essen & Thingo, Die Gotter des Himalaya, 1989, Vol. II, p. 127, no. II-274. The copper alloy consecration plate sealing the underside of the present bronze is incised with the Buddhist Eight Auspicious Symbols (ashtamangala) in a manner consistent with other bronzes from the 12th-14th centuries, such as two in the Nyingjei Lam Collection (Weldon & Singer, The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam Collection, 1999, pp. 140-1, figs. 57 & 58).
此尊噶舉派上師造像捲髮垂耳，結跏趺坐於華麗的雙層蓮花寶座之上。其右臂前伸，結與佛陀成道時相同的觸地印。與佛陀眾弟子一致的百衲衣，覆蓋著上師雄獅般寬闊的胸膛，並以銀、金點綴裝飾，賦予人物一種靈性光輝。此形象呈現歷史上佛陀在印度菩提伽耶的菩提樹下成道的場景與上師自身之融合，消弭了時空界限，將藏地偉大的上師傳承與佛教發源地緊密相連。藏地中部許多噶舉派肖像皆遵循此造像傳統，因為噶舉的主要傳承者帕木竹巴（1110-1170）亦被視為第二佛陀。
此尊上師造像的裝飾手法與十三、十四世紀藏地中部早期噶舉派所製作的造像相似。其衣袍邊緣鑲嵌銀珠的裝飾手法，亦見於另外兩尊來自藏地中部與帕木竹巴弟子相關的鎏金上師造像。其一為直貢噶舉派創始人吉天頌恭仁欽貝（1143-1217），另一尊則為達隆噶舉派上師，其傳承源自帕木竹巴的親傳弟子扎西貝（1142-1210），分別為邦瀚斯，香港，2020年10月5日，拍品5及8。這兩派噶舉傳承的上師造像，通過百衲衣的風格、健壯的身軀以及清晰的髮線，與此尊造像呈現出一致的藝術風格。憑藉其上衣的設計，此尊造像可斷代於早期一具有代表性的早期僧侶著裝風格——圓融的邊緣和胸前的捲曲衣領，為更早於十五世紀早期的特點。
外袍披覆於雙肩的呈現，常見於帕木竹巴肖像中（參見 Weldon 及 Singer，《The Sculptural Heritage of Tibet》，倫敦，1999年，頁135，圖50），此為刻畫直貢與達隆兩派住持肖像的慣用手法。在十三世紀末至十四世紀初，這兩派皆試圖通過強調與帕木竹巴的歷史傳承關係來強化其合法性，並通過紀念宗教領袖來鞏固其作為教派的地位。這些閃耀光輝的紀念造像與十三世紀末至十四世紀兩派的經濟與政治發展相吻合。達隆寺在第四任住持扎西喇嘛（1231-1297）時期，獲得了忽必烈可汗與顯赫的薩迦派的經濟支持。直貢寺亦在十二世紀末至十三世紀享有可觀的財富與供養。然而，這兩座寺院蓬勃之後均遭到破壞——直貢寺於1297年，達隆寺於1548年——使得此尊造像的具體來源難以考證。儘管如此，仍無可爭議的是，這尊錯銀鎏金的銅像通過描繪這位備受尊崇的上師，向佛陀與早期噶舉派大師的傳承致敬。
另一尊與之密切相關且未確定身份的上師像現藏於巴塞爾文化博物館，著錄於Essen 及 Thingo，《Die Gotter des Himalaya》，1989年，卷二，頁127，編號II-274。此拍品封底之銅板上刻佛教八吉祥圖案，與其他十二至十四世紀間之造像一致，例如，兩尊菩薩道收藏之例（Weldon 及 Singer，《The Sculptural Heritage of Tibet：Buddhist Art in the Nyingjei Lam Collection》，1999年，頁140-1，圖57及58）。
Himalayan Art Resources item no. 2810
15.8 cm (6 1/4 in.) high
銅鎏金錯銀錯紅銅噶舉上師像
西藏 十三/十四世紀
A Kagyu lama with enlarged ears and wavy hair sits with crossed legs on an ornate double-lotus throne. He extends his right arm in the same gesture that affirmed the Buddha's enlightenment (bhumisparsha mudra). The lama wears the patchwork garments worn by the Buddha's monastic disciples draped over his lion-chested torso, embellished with silver and gold, conferring a sense of spiritual radiance on the person. His portrayal is a convergence of the Historical Buddha's enlightenment under the bodhi tree in Bodh Gaya, India, and his own, dissolving boundaries of time and space to connect a lineage of great Tibetan masters with the Buddhist homeland. Many Kagyu portraits of Central Tibet follow this iconographic convention, as their principal lineage holder, Phagmodrupa (1110-70), was himself considered a Second Buddha.
The visual rhetoric used to portray the lama parallels others produced by the early Kagyu orders of Central Tibet during the 13th and 14th centuries. The application of silver-inlaid beaded hems of the robes appears on two other gilt lamas linked to the disciples of Phagmodrupa in Central Tibet. The first portrays Jigten Sumgon Rinchen Pel (1143-1217), the founder of the Drigung order, and the other of a Taklung Kagyu Lama from an order descending from Tashipel (1142-1210) whose immediate teacher was Phagmodrupa (Bonhams, Hong Kong, 5 October, 2020, lots 5 & 8, respectively). The lamas of these two Kagyu schools and the sculpture here are presented cohesively through the styling of their patchwork robes, athletic bodies, and defined hairlines. The shirt design chronologizes the portrait within an earlier representative style of monastics—the rounded edge and curved hem along the chest correlate to fashions predating the early 15th century.
The outer robe lays across the top of the shoulders in a manner often visible in portraiture of Phagmodrupa (Weldon & Singer, The Sculptural Heritage of Tibet, London, 1999, p 135, fig. 50). It is a convention applied to abbot portraiture in both Drigung and Taklung orders. During the late 13th/early 14th century, both orders sought to strengthen their legitimacy by conveying their historical lineage vis-a-vis their connection to Phagmodrupa and their status as an order by memorializing their hierarchs. These lustrous commemorations coincided with economic and political growth for both orders in the late 13th and 14th centuries. Taklung monastery, under the fourth abbot, Tashi Lama (1231-97), received economic support from Khubilai Khan and the pre-eminent Sakya order. Drigung monastery, too, enjoyed great wealth and patronage in the late 12th/13th centuries. Both monasteries were damaged following these periods - Drigung in 1297 and Taklung in 1548 - making the determination of provenance impossible. Still, this silver-inlaid gilt-bronze portrait honors the Buddha and the lineage of early Kagyu masters in portraying this esteemed hierarch.
Another closely related unidentified lama is held in the Museum der Kulturen, Basel, published in Essen & Thingo, Die Gotter des Himalaya, 1989, Vol. II, p. 127, no. II-274. The copper alloy consecration plate sealing the underside of the present bronze is incised with the Buddhist Eight Auspicious Symbols (ashtamangala) in a manner consistent with other bronzes from the 12th-14th centuries, such as two in the Nyingjei Lam Collection (Weldon & Singer, The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam Collection, 1999, pp. 140-1, figs. 57 & 58).
此尊噶舉派上師造像捲髮垂耳，結跏趺坐於華麗的雙層蓮花寶座之上。其右臂前伸，結與佛陀成道時相同的觸地印。與佛陀眾弟子一致的百衲衣，覆蓋著上師雄獅般寬闊的胸膛，並以銀、金點綴裝飾，賦予人物一種靈性光輝。此形象呈現歷史上佛陀在印度菩提伽耶的菩提樹下成道的場景與上師自身之融合，消弭了時空界限，將藏地偉大的上師傳承與佛教發源地緊密相連。藏地中部許多噶舉派肖像皆遵循此造像傳統，因為噶舉的主要傳承者帕木竹巴（1110-1170）亦被視為第二佛陀。
此尊上師造像的裝飾手法與十三、十四世紀藏地中部早期噶舉派所製作的造像相似。其衣袍邊緣鑲嵌銀珠的裝飾手法，亦見於另外兩尊來自藏地中部與帕木竹巴弟子相關的鎏金上師造像。其一為直貢噶舉派創始人吉天頌恭仁欽貝（1143-1217），另一尊則為達隆噶舉派上師，其傳承源自帕木竹巴的親傳弟子扎西貝（1142-1210），分別為邦瀚斯，香港，2020年10月5日，拍品5及8。這兩派噶舉傳承的上師造像，通過百衲衣的風格、健壯的身軀以及清晰的髮線，與此尊造像呈現出一致的藝術風格。憑藉其上衣的設計，此尊造像可斷代於早期一具有代表性的早期僧侶著裝風格——圓融的邊緣和胸前的捲曲衣領，為更早於十五世紀早期的特點。
外袍披覆於雙肩的呈現，常見於帕木竹巴肖像中（參見 Weldon 及 Singer，《The Sculptural Heritage of Tibet》，倫敦，1999年，頁135，圖50），此為刻畫直貢與達隆兩派住持肖像的慣用手法。在十三世紀末至十四世紀初，這兩派皆試圖通過強調與帕木竹巴的歷史傳承關係來強化其合法性，並通過紀念宗教領袖來鞏固其作為教派的地位。這些閃耀光輝的紀念造像與十三世紀末至十四世紀兩派的經濟與政治發展相吻合。達隆寺在第四任住持扎西喇嘛（1231-1297）時期，獲得了忽必烈可汗與顯赫的薩迦派的經濟支持。直貢寺亦在十二世紀末至十三世紀享有可觀的財富與供養。然而，這兩座寺院蓬勃之後均遭到破壞——直貢寺於1297年，達隆寺於1548年——使得此尊造像的具體來源難以考證。儘管如此，仍無可爭議的是，這尊錯銀鎏金的銅像通過描繪這位備受尊崇的上師，向佛陀與早期噶舉派大師的傳承致敬。
另一尊與之密切相關且未確定身份的上師像現藏於巴塞爾文化博物館，著錄於Essen 及 Thingo，《Die Gotter des Himalaya》，1989年，卷二，頁127，編號II-274。此拍品封底之銅板上刻佛教八吉祥圖案，與其他十二至十四世紀間之造像一致，例如，兩尊菩薩道收藏之例（Weldon 及 Singer，《The Sculptural Heritage of Tibet：Buddhist Art in the Nyingjei Lam Collection》，1999年，頁140-1，圖57及58）。