LOT 114
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A BRASS FIGURE OF MUCHEN SEMPA CHENPO KONCHOG GYALTSEN CENTRAL TIBET, TSANG PROVINCE, 15TH CENTURY
作品估价：HKD 600,000-800,000
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图录号：
114
拍品名称：
A BRASS FIGURE OF MUCHEN SEMPA CHENPO KONCHOG GYALTSEN CENTRAL TIBET, TSANG PROVINCE, 15TH CENTURY
拍品描述：
CENTRAL TIBET, TSANG PROVINCE, 15TH CENTURY
A Tibetan inscription around the base identifies the subject as "Konchog Gyaltsen"
Himalayan Art Resources item no. 2820
21.5 cm (8 1/2 in.) high
Acquired in 2007
慕千森巴千波貢卻堅贊銅像
藏中 藏 十五世紀
底緣刻銘文，標識此上師為「貢卻堅贊」
來源
入藏於2007年
Cast in a non-gilt style associated with Tsang Province in Central Tibet, this brass portrait depicts the Sakya master Muchen Sempa Chenpo Konchog Gyaltsen (1388–1469) with a tender, youthful countenance. The lustrous patina imparts a gentle softness to his features while crisply defined lines around his eyes and lips remain assured and precise. The meticulously rendered hairstyle mirrors how Konchog Gyaltsen is commonly represented in thangkas (e.g., HAR 368 & 15637). His hands, held in Dharmachakrapavartina mudra, allude to his profound contributions to Tibetan religious traditions and literary heritage.
Muchen Sempa Chenpo Konchog Gyaltsen became the Second Abbot (Khenchen) of Ngor Monastery in 1456. As a direct disciple of the order's founder, Ngorchen Kunga Zangpo (1382–1456), Konchog Gyaltsen was instrumental in the monastery's establishment in 1430. From 1447 to 1462, while teaching at Ngor, he presided over a pivotal development in the Lamdre tradition, dividing its teachings into two sections: Lobshe (slob bshad) and Tsokshe (tshog bshad). Among his many writings are biographies of Ngorchen Kunga Zangpo and the Sakya master Pelden Tsultrim (1333–1399), as well as significant compilations of Lojong (blo sbyong) texts on mind training—works that remain highly regarded to this day.
Opulent lotus and cloud motifs ornament the finely incised monastic robes that Konchog Gyaltsen wears. At the back, auspicious symbols—including the conch, kalasa, and parasol—are artfully arranged, continuing onto the lotus base where a treasure-filled vase is depicted. A subtle yet charming detail is a pair of hares at the small of his back. This infrequent motif also features on a figure of Jetsun Dragpa Gyaltsen from a set of The Five Sakya Patriarchs sold at Bonhams, New York, 21 March 2023, lot 521 (fig. 1). The lotus base is similarly modeled, suggesting kinship with related sculptures from the same region and period. Compare to a figure of Shangton Chobar sold at Bonhams, New York, 14 March 2017, lot 3256, and a figure of Konchog Yonten from the same auction, lot 3270. A related casting of Kunpang Chadal Chodje (1449-1524) is published in Essen & Thingo, Die Gotter des Himalaya, 1989, Vol. 1, p. 127, no. I-76.
此造像以西藏中部衛藏地區鮮明的非鎏金風格而鑄造，呈現薩迦傳承上師穆千森巴千波貢卻堅贊（1388–1469）溫潤而年輕的容貌。銅質表面的明亮光澤賦予面龐柔和的質感，而雙眼與嘴唇周圍的線條則刻畫得堅實且精準。精心刻畫的髮型，與常見於唐卡（如喜馬拉雅藝術資源網368號及15637號）中對貢卻堅贊的描繪一致。雙手結轉法輪印，象徵他對西藏宗教傳統與文學遺產的深遠貢獻。
慕千森巴千波貢卻堅贊於 1456 年成為俄爾寺第二任堪布。作為直接跟隨此教派創始祖師俄爾欽貢噶桑波（1382–1456）的弟子，貢卻堅贊在 1430 年該寺建立之時發揮了關鍵作用。1447 年至 1462 年間，其於俄爾寺講授佛法，推動了「道果」法脈傳承之重大革新，將其教法分為兩大部分：弟子講授式與群體教授式。他撰有多部著作，包括俄爾欽貢噶桑波與薩迦大師貝丹楚臣（1333–1399）的傳記，以及多部「洛種」訓練心性之經典彙編——這些作品至今仍廣受推崇。
貢卻堅贊身著精緻袈裟，飾有富麗的蓮紋與雲紋錾刻。背面則巧妙地排列了法螺、寶瓶與寶蓋等吉祥圖案，並延伸至蓮座。座上亦刻有寶瓶寓意財富。更具生趣的細節為其腰背處所呈現之一對兔子形象，雖然並不常見，但與紐約邦瀚斯於 2023 年 3 月 21 日拍賣（拍品521；圖 1）一尊薩迦祖師傑尊札巴堅贊造像相同。此札巴堅贊像屬薩迦五祖師造像組之一，其蓮座造型也與本像類似，顯示彼此很可能出自同一地區與時期的相關作坊。可比較紐約邦瀚斯於 2017 年 3 月 14 日拍賣的尚敦絳巴造像（拍品 3256）及同場拍賣之貢卻雍登造像（拍品3270）。另可參考收錄於一尊貢邦查達爾秋傑相關造像，見Essen 及 Thingo，《Die Gotter des Himalaya》，1989 年，卷一，頁127 ，編號 I-76。
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。
A Tibetan inscription around the base identifies the subject as "Konchog Gyaltsen"
Himalayan Art Resources item no. 2820
21.5 cm (8 1/2 in.) high
Acquired in 2007
慕千森巴千波貢卻堅贊銅像
藏中 藏 十五世紀
底緣刻銘文，標識此上師為「貢卻堅贊」
來源
入藏於2007年
Cast in a non-gilt style associated with Tsang Province in Central Tibet, this brass portrait depicts the Sakya master Muchen Sempa Chenpo Konchog Gyaltsen (1388–1469) with a tender, youthful countenance. The lustrous patina imparts a gentle softness to his features while crisply defined lines around his eyes and lips remain assured and precise. The meticulously rendered hairstyle mirrors how Konchog Gyaltsen is commonly represented in thangkas (e.g., HAR 368 & 15637). His hands, held in Dharmachakrapavartina mudra, allude to his profound contributions to Tibetan religious traditions and literary heritage.
Muchen Sempa Chenpo Konchog Gyaltsen became the Second Abbot (Khenchen) of Ngor Monastery in 1456. As a direct disciple of the order's founder, Ngorchen Kunga Zangpo (1382–1456), Konchog Gyaltsen was instrumental in the monastery's establishment in 1430. From 1447 to 1462, while teaching at Ngor, he presided over a pivotal development in the Lamdre tradition, dividing its teachings into two sections: Lobshe (slob bshad) and Tsokshe (tshog bshad). Among his many writings are biographies of Ngorchen Kunga Zangpo and the Sakya master Pelden Tsultrim (1333–1399), as well as significant compilations of Lojong (blo sbyong) texts on mind training—works that remain highly regarded to this day.
Opulent lotus and cloud motifs ornament the finely incised monastic robes that Konchog Gyaltsen wears. At the back, auspicious symbols—including the conch, kalasa, and parasol—are artfully arranged, continuing onto the lotus base where a treasure-filled vase is depicted. A subtle yet charming detail is a pair of hares at the small of his back. This infrequent motif also features on a figure of Jetsun Dragpa Gyaltsen from a set of The Five Sakya Patriarchs sold at Bonhams, New York, 21 March 2023, lot 521 (fig. 1). The lotus base is similarly modeled, suggesting kinship with related sculptures from the same region and period. Compare to a figure of Shangton Chobar sold at Bonhams, New York, 14 March 2017, lot 3256, and a figure of Konchog Yonten from the same auction, lot 3270. A related casting of Kunpang Chadal Chodje (1449-1524) is published in Essen & Thingo, Die Gotter des Himalaya, 1989, Vol. 1, p. 127, no. I-76.
此造像以西藏中部衛藏地區鮮明的非鎏金風格而鑄造，呈現薩迦傳承上師穆千森巴千波貢卻堅贊（1388–1469）溫潤而年輕的容貌。銅質表面的明亮光澤賦予面龐柔和的質感，而雙眼與嘴唇周圍的線條則刻畫得堅實且精準。精心刻畫的髮型，與常見於唐卡（如喜馬拉雅藝術資源網368號及15637號）中對貢卻堅贊的描繪一致。雙手結轉法輪印，象徵他對西藏宗教傳統與文學遺產的深遠貢獻。
慕千森巴千波貢卻堅贊於 1456 年成為俄爾寺第二任堪布。作為直接跟隨此教派創始祖師俄爾欽貢噶桑波（1382–1456）的弟子，貢卻堅贊在 1430 年該寺建立之時發揮了關鍵作用。1447 年至 1462 年間，其於俄爾寺講授佛法，推動了「道果」法脈傳承之重大革新，將其教法分為兩大部分：弟子講授式與群體教授式。他撰有多部著作，包括俄爾欽貢噶桑波與薩迦大師貝丹楚臣（1333–1399）的傳記，以及多部「洛種」訓練心性之經典彙編——這些作品至今仍廣受推崇。
貢卻堅贊身著精緻袈裟，飾有富麗的蓮紋與雲紋錾刻。背面則巧妙地排列了法螺、寶瓶與寶蓋等吉祥圖案，並延伸至蓮座。座上亦刻有寶瓶寓意財富。更具生趣的細節為其腰背處所呈現之一對兔子形象，雖然並不常見，但與紐約邦瀚斯於 2023 年 3 月 21 日拍賣（拍品521；圖 1）一尊薩迦祖師傑尊札巴堅贊造像相同。此札巴堅贊像屬薩迦五祖師造像組之一，其蓮座造型也與本像類似，顯示彼此很可能出自同一地區與時期的相關作坊。可比較紐約邦瀚斯於 2017 年 3 月 14 日拍賣的尚敦絳巴造像（拍品 3256）及同場拍賣之貢卻雍登造像（拍品3270）。另可參考收錄於一尊貢邦查達爾秋傑相關造像，見Essen 及 Thingo，《Die Gotter des Himalaya》，1989 年，卷一，頁127 ，編號 I-76。
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。