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A SILVER FIGURE OF A KAGYU HIERARCH CENTRAL TIBET, LATE 16TH EARLY 17TH CENTURY
作品估价：HKD 1,000,000-1,500,000
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图录号：
111
拍品名称：
A SILVER FIGURE OF A KAGYU HIERARCH CENTRAL TIBET, LATE 16TH EARLY 17TH CENTURY
拍品描述：
CENTRAL TIBET, LATE 16TH/EARLY 17TH CENTURY
Himalayan Art Resources item no. 2819
16.5 cm (6 1/2 in.) high
Published
Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, pp. 492-3, no. 219.
Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 — 19 February 2017.
Acquired in Hong Kong, 2008
噶舉上師銀像
藏中 十六世紀晚期/十七世紀早期
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492-3，編號219
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
入藏於香港，2008年
The Karma Kagyu tradition is a prominent branch of the Kagyu order, one of the four principal schools of Tibetan Buddhism. Amongst the core tenets of the Karma Kagyu tradition is Mahamudra (Great Seal), concentrating on meditative practice to attain full enlightenment. Karma Kagyu leaders are, therefore, often depicted in contemplative poses, such as with the present sculpture, reflecting the tradition's meditative focus. This rare silver portrait of a Kagyu hierarch exudes an air of quiet composure, the figure's head slightly tilted in deliberation. Vestiges of cold gold pigment on his exposed skin lend warmth and vitality to the figure. Silver is considered a more precious medium than gilded copper for Buddhist sculpture in Tibet. Affluent patrons would have commissioned figures such as this one. A distinctive pandita hat folded flat with lappets draped at the back adorns the hierarch's head, symbolizing monastic teaching and perhaps the master's approachability for engaging in scholarly discourse. The hierarch's robe bears a rich array of finely incised patterns. Swirling cloud-like motifs blend harmoniously with geometric floral designs, creating an intricate tapestry. These designs are echoed on the surface of his rectangular cushion, creating an aesthetic unity within the work.
The figure is cast in the Karma Garlug artistic tradition advanced by the Karma Kagyu order. Notable stylistic features include the contemplative sensibility, the softness of the facial features achieved through thin incising, the naturalistic modeling of the figure's pose and flowing robe, and the depiction of the lama seated on a rectangular cushion rather than a lotus pedestal. Bronzes in the Karma Garlug tradition were primarily produced at Tsurphu monastery, the seat of the Karmapa, and in Sho Village beneath the Red Fort in Lhasa, prior to the construction of the Potala Palace. The tradition lasted between the late 16th and early 17th century, bookended by escalating tensions between the Kagyu and Gelug orders, culminating in conflict by the mid-17th century.
Related Karma Garlug portraits include examples of the Fourth Shamarpa from the Claude de Marteau Collection sold at Bonhams, Paris, 12 June 2023, lot 35, and an unidentified Karmapa sold at Bonhams, Hong Kong, 30 November 2022, lot 1029. A cast silver portrait of the Sixth Shamarpa, Chokyi Wangchuk, sold at Sotheby's, New York, 15 March 2017, lot 221 (HAR 13426), and a silver portrait of Thongwa Donden, the Sixth Karmapa at Sotheby's, Hong Kong, 3 October 2018, lot 3692. Notably, the attention given to the ornate motifs on the robes of the present figure can be compared to a gilt bronze of the Seventh Karmapa, Chodrag Gyatso, from the Jules Speelman Collection sold at Bonhams, Paris, 11 June 2024, lot 11 (HAR 1824).
噶瑪噶舉傳承為噶舉派中一重要分支，而噶舉派則為藏傳佛教四大傳統之一。「大手印」為噶瑪噶舉傳承之核心教義之一，強調透過觀想實踐以得證全然之覺悟。因此，噶瑪噶舉的上師們往往被描為靜思冥想的姿態，如同此尊造像一般，展現此傳承專注觀想的特質。此尊罕見的銀質噶舉上師肖像獨具寧靜沉穩之氣韻，其頭部微微傾斜，彷彿正在深思。在其月光般的銀色肌膚上，冷金存留，為整尊像增添了溫暖與生氣。在西藏佛教造像中，銀被視為比鎏金銅更為珍貴之材質，故而顯赫的供養人便會施造如此像般的銀質之像。上師頂戴一頂別具特色的班智達帽，其形狀扁平折疊，且帽耳後垂，班智達帽象徵著傳承教法，或許亦表現著這位上於探討教法之平易近人。莊嚴的僧袍上，漩渦紋般的祥雲與幾何花卉圖案巧妙融合，織就繁複的錦衣。簇簇花紋與其長方形坐墊表面之刻畫亦相呼應，令此造像之美學渾然一體。
此造像所展現的風格，為噶瑪噶舉所倡導之噶瑪嘎魯傳統。噶瑪嘎魯之顯著特徵包括沉思的深長氣韻、細緻淺刻所塑造的面容柔和、自然寫實的身姿與流淌的衣紋，以及採用長方形坐墊而非蓮花座。依噶瑪嘎魯傳統之銅像主要由噶瑪巴主寺楚布寺製作，以及拉薩紅宮下方一座名為朔的村莊，彼時布達拉宮興建尚未完成。這一藝術傳統存續於十六世紀末至十七世紀初期間，其始末始終伴隨著噶舉派與格魯派之間日益劍拔弩張的關係，並最終在十七世紀中葉演變為衝突。
其他相關之噶瑪嘎魯上師肖像，可參考一尊出自Claude de Marteau珍藏、2023年6月12日由巴黎邦翰斯拍出之四世夏瑪巴像（拍品35），以及2022年11月30日香港邦翰斯拍賣之一尊身份未定之噶瑪巴像（拍品1029）。一尊六世夏瑪巴確吉旺秋銀質肖像曾於2017年3月15日由紐約蘇富比拍出（拍品221，喜馬拉雅藝術資源網13426號），另一銀質六世噶瑪巴通瓦敦殿造像則出自2018年10月3日香港蘇富比拍賣（拍品3692）。此外，本尊銀像上華麗的紋飾與2024年6月11日巴黎邦翰斯呈現之Jules Speelman珍藏一尊七世噶瑪巴卻札嘉措鎏金銅像（拍品11，喜馬拉雅藝術資源網1824號）可以相較，可見裝飾美學之異曲同工。
Himalayan Art Resources item no. 2819
16.5 cm (6 1/2 in.) high
Published
Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, pp. 492-3, no. 219.
Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 — 19 February 2017.
Acquired in Hong Kong, 2008
噶舉上師銀像
藏中 十六世紀晚期/十七世紀早期
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492-3，編號219
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
入藏於香港，2008年
The Karma Kagyu tradition is a prominent branch of the Kagyu order, one of the four principal schools of Tibetan Buddhism. Amongst the core tenets of the Karma Kagyu tradition is Mahamudra (Great Seal), concentrating on meditative practice to attain full enlightenment. Karma Kagyu leaders are, therefore, often depicted in contemplative poses, such as with the present sculpture, reflecting the tradition's meditative focus. This rare silver portrait of a Kagyu hierarch exudes an air of quiet composure, the figure's head slightly tilted in deliberation. Vestiges of cold gold pigment on his exposed skin lend warmth and vitality to the figure. Silver is considered a more precious medium than gilded copper for Buddhist sculpture in Tibet. Affluent patrons would have commissioned figures such as this one. A distinctive pandita hat folded flat with lappets draped at the back adorns the hierarch's head, symbolizing monastic teaching and perhaps the master's approachability for engaging in scholarly discourse. The hierarch's robe bears a rich array of finely incised patterns. Swirling cloud-like motifs blend harmoniously with geometric floral designs, creating an intricate tapestry. These designs are echoed on the surface of his rectangular cushion, creating an aesthetic unity within the work.
The figure is cast in the Karma Garlug artistic tradition advanced by the Karma Kagyu order. Notable stylistic features include the contemplative sensibility, the softness of the facial features achieved through thin incising, the naturalistic modeling of the figure's pose and flowing robe, and the depiction of the lama seated on a rectangular cushion rather than a lotus pedestal. Bronzes in the Karma Garlug tradition were primarily produced at Tsurphu monastery, the seat of the Karmapa, and in Sho Village beneath the Red Fort in Lhasa, prior to the construction of the Potala Palace. The tradition lasted between the late 16th and early 17th century, bookended by escalating tensions between the Kagyu and Gelug orders, culminating in conflict by the mid-17th century.
Related Karma Garlug portraits include examples of the Fourth Shamarpa from the Claude de Marteau Collection sold at Bonhams, Paris, 12 June 2023, lot 35, and an unidentified Karmapa sold at Bonhams, Hong Kong, 30 November 2022, lot 1029. A cast silver portrait of the Sixth Shamarpa, Chokyi Wangchuk, sold at Sotheby's, New York, 15 March 2017, lot 221 (HAR 13426), and a silver portrait of Thongwa Donden, the Sixth Karmapa at Sotheby's, Hong Kong, 3 October 2018, lot 3692. Notably, the attention given to the ornate motifs on the robes of the present figure can be compared to a gilt bronze of the Seventh Karmapa, Chodrag Gyatso, from the Jules Speelman Collection sold at Bonhams, Paris, 11 June 2024, lot 11 (HAR 1824).
噶瑪噶舉傳承為噶舉派中一重要分支，而噶舉派則為藏傳佛教四大傳統之一。「大手印」為噶瑪噶舉傳承之核心教義之一，強調透過觀想實踐以得證全然之覺悟。因此，噶瑪噶舉的上師們往往被描為靜思冥想的姿態，如同此尊造像一般，展現此傳承專注觀想的特質。此尊罕見的銀質噶舉上師肖像獨具寧靜沉穩之氣韻，其頭部微微傾斜，彷彿正在深思。在其月光般的銀色肌膚上，冷金存留，為整尊像增添了溫暖與生氣。在西藏佛教造像中，銀被視為比鎏金銅更為珍貴之材質，故而顯赫的供養人便會施造如此像般的銀質之像。上師頂戴一頂別具特色的班智達帽，其形狀扁平折疊，且帽耳後垂，班智達帽象徵著傳承教法，或許亦表現著這位上於探討教法之平易近人。莊嚴的僧袍上，漩渦紋般的祥雲與幾何花卉圖案巧妙融合，織就繁複的錦衣。簇簇花紋與其長方形坐墊表面之刻畫亦相呼應，令此造像之美學渾然一體。
此造像所展現的風格，為噶瑪噶舉所倡導之噶瑪嘎魯傳統。噶瑪嘎魯之顯著特徵包括沉思的深長氣韻、細緻淺刻所塑造的面容柔和、自然寫實的身姿與流淌的衣紋，以及採用長方形坐墊而非蓮花座。依噶瑪嘎魯傳統之銅像主要由噶瑪巴主寺楚布寺製作，以及拉薩紅宮下方一座名為朔的村莊，彼時布達拉宮興建尚未完成。這一藝術傳統存續於十六世紀末至十七世紀初期間，其始末始終伴隨著噶舉派與格魯派之間日益劍拔弩張的關係，並最終在十七世紀中葉演變為衝突。
其他相關之噶瑪嘎魯上師肖像，可參考一尊出自Claude de Marteau珍藏、2023年6月12日由巴黎邦翰斯拍出之四世夏瑪巴像（拍品35），以及2022年11月30日香港邦翰斯拍賣之一尊身份未定之噶瑪巴像（拍品1029）。一尊六世夏瑪巴確吉旺秋銀質肖像曾於2017年3月15日由紐約蘇富比拍出（拍品221，喜馬拉雅藝術資源網13426號），另一銀質六世噶瑪巴通瓦敦殿造像則出自2018年10月3日香港蘇富比拍賣（拍品3692）。此外，本尊銀像上華麗的紋飾與2024年6月11日巴黎邦翰斯呈現之Jules Speelman珍藏一尊七世噶瑪巴卻札嘉措鎏金銅像（拍品11，喜馬拉雅藝術資源網1824號）可以相較，可見裝飾美學之異曲同工。