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A GILT COPPER ALLOY FIGURE OF SAKYA PANDITA TIBET, CIRCA 1480-90
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图录号：
115
拍品名称：
A GILT COPPER ALLOY FIGURE OF SAKYA PANDITA TIBET, CIRCA 1480-90
拍品描述：
TIBET, CIRCA 1480-90
With a Tibetan inscription around the foot of the base.
Himalayan Art Resources item no. 2813
33.7 cm (13 1/4 in.) high
Published
Amy Heller, "Portable Buddhist Sculptures of Lo: A Chronological Selection, 15th through 17th Centuries", in Erberto Lo Bue (ed.), Wonders of Lo: The Artistic Heritage of Mustang, 2010, p. 90, figs. 7.1a and b.
Yixi (ed.), The Art of Buddhist Sculpture, Beijing, 2013, pp. 128-9.
Meinrad Maria Grewenig & Eberhard Rist (eds.), Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, pp. 42 & 438-9, no. 192.
The Art of Buddhist Sculpture, Capital Museum, Beijing, 8—28 November 2013.
Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016—19 February 2017.
銅鎏金薩迦班智達像
西藏 約1480-90年
著錄
Amy Heller，「Portable Buddhist Sculptures of Lo: A Chronological Selection, 15th through 17th Centuries」，收錄於 Erberto Lo Bue 編， 《Wonders of Lo：The Artistic Heritage of Mustang》，2010年，頁90， 圖7.1a及b
一西編，《佛韻 : 造像藝術集粹》，北京，2013年，頁128-9
Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha：2000 Years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年，頁42 及 438-9, 編號192
展覽
「佛韻 : 造像藝術集粹」，首都博物館，北京，2013年11月8日至2013年11月28日
「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
Sakya Pandita's (1182-1251) legacy as a scholar and religious leader remains among the greatest of all time. His teachings and writings are widely revered throughout Tibetan literature. He is known to have mastered all tantric practices, and his many treatises include a complete explication of the Mahayana path (Elucidating the Intention of the Sage). This portrait commemorates his fathomless knowledge and prodigious instruction, with the accouterments of a sword and book equating Sakya Pandita with Manjushri, the Bodhisattva of Perfected Wisdom himself. He is also attributed an urna, which represents a tuft of hair at the center of the brow, which, according to ancient treatises, is a mark of a Great Being shared by Buddha Shakyamuni. After Phagmodrupa (1110-70), who is considered a Second Buddha in Tibet, Sakya Pandita is considered a Third.
Sakya Pandita is also credited with the conversion of the Mongols to Buddhism. His reputation as the wisest Buddhist master of his time prompted the Mongol prince Khoden Khan to summon him to present-day Inner Mongolia in 1244. There, accompanied by his nephew Chogyal Pagpa, Sakya Pandita spread Buddhism and, according to Stearns, even "convinced Godan Khan to ban some barbarous practices used to subjugate the Chinese population, such as drowning males above the age of nine from fear of rebellion" (Dinwiddie (ed.), Portraits of the Masters, 2003, p. 208). Sakya Pandita's unmatched sagacity among the Mongol rulers initiated the conditions for a political alliance established with his nephew between the Sakya and the Yuan dynasty for which Tibet would never be the same again.
薩迦班智達（1182-1251）作為一位學者與宗教領袖之成就，如一座豐碑，其盛名於各時代皆位列最為偉大的傳奇之中。其教法與著作在整部西藏文學史中皆受尊崇。據説薩迦班智達精通所有密續法門，在他所撰寫的眾多論著中，包括一部對大乘道完整闡釋的巨著《牟尼密意顯明論》。此尊肖像紀念上師深不可測之智慧與非凡之教導，象徵智慧之劍與經書更將薩迦班智達比為大智文殊師利菩薩。他額間亦具「白毫」，為眉間的一縷髮，根據古老經論，這是包括釋迦牟尼佛在內的「三十二相」之一。在被譽為「第二佛陀」的帕木竹巴（1110-70）之後，薩迦班智達被視為「第三佛陀」。
此外，薩迦班智達也因使蒙古人歸依佛教而聞名於世。其作為當時最智慧之佛教大師這一盛名，正是由蒙古王子闊端汗於1244年召見他至如今內蒙古一帶更得宣揚。薩迦班智達與其姪子卻吉帕巴同行，在當地弘揚佛法；據史丹斯所載，他甚至「說服闊端汗禁止一些用以鎮壓漢人之極為野蠻的刑罰，例如因畏懼叛亂而將九歲以上的男子溺死」(見Dinwiddie編，《Portraits of the Masters》，2003年，頁208)。薩迦班智達在蒙古統治者之間無可匹敵的睿智，促成了他與其姪子所建立的薩迦與元朝之間的政治聯盟，從此徹底改變了西藏的歷史進程。
A Study of the Inscription by Dr. Jörg Heimbel
1. Tibetan Inscription
The author has added bold emphasis to illustrate the Tibetan custom of weaving the individual syllables that make up a Tibetan master's name into the praise.
࿓། ཤེས་བྱ་ཀུན་ལ་བློ་གྲོས་ཅན། །གཅིག་ཏུ་གཞན་དོན་ལ་ དགའ་ བ། ། རྒྱལ་ སྲས་ མཚན་ དཔེའི་ དཔལ་ གྱིས་མཛེས། །པཎ་ཆེན་ བཟང་པོ འི་ཞབས་པད་འདུད། །རྒྱལ་ཚབ་ཀུན་དགའ་དབང་ཕྱུག་པའི། །ཐུགས་དགོངས་རྫོགས་ཕྱིར་པཎ་ཆེན་སྐུ། །ས་སྐྱོང་ཨཱ་ཡི་སེང་གེའི་བཀས། །ལེགས་གནང་བཟོ་རིག་གཙུག་གཏོར་ལགས། །མཾ་ག་ལཾ།།
2. Transliteration
The bold emphasis has been added by the author to illustrate the Tibetan custom of weaving the individual syllables that make up the name of a Tibetan master into the praise.
@| shes bya kun la blo gros can| |gcig tu gzhan don la dga' ba| | rgyal sras mtshan dpe'i dpal gyis mdzes| |paṇ chen bzang po 'i zhabs pad 'dud| |rgyal tshab kun dga' dbang phyug pa'i| |thugs dgongs rdzogs phyir paṇ chen sku| |sa skyong ā yi seng ge'i bkas| |legs gnang bzo rig gtsug gtor lags|| maṃ ga laṃ||
3. English Translation
I prostrate myself at the lotus feet of the excellent Great Paṇḍita,
Who is proficient in all objects of knowledge,
Who delights only in the benefit of others and
Who is adorned with the glory of the characteristic marks of a bodhisattva.
To fulfill the intentions of Gyeltsap Künga Wangchuk,
The statue of the Great Paṇḍita [commissioned]
As excellently ordered by Sakyong Ayi Sengge
Is the pinnacle of craftsmanship.
Maṅgalaṃ.
一、藏文銘文
（粗體字為筆者所加，用以突顯在讚頌中嵌入上師名諱音節進行創作的藏文傳統。）
࿓། ཤེས་བྱ་ཀུན་ལ་བློ་གྲོས་ཅན། །གཅིག་ཏུ་གཞན་དོན་ལ་ དགའ་ བ། ། རྒྱལ་ སྲས་ མཚན་ དཔེའི་ དཔལ་ གྱིས་མཛེས། །པཎ་ཆེན་ བཟང་པོ འི་ཞབས་པད་འདུད། །རྒྱལ་ཚབ་ཀུན་དགའ་དབང་ཕྱུག་པའི། །ཐུགས་དགོངས་རྫོགས་ཕྱིར་པཎ་ཆེན་སྐུ། །ས་སྐྱོང་ཨཱ་ཡི་སེང་གེའི་བཀས། །ལེགས་གནང་བཟོ་རིག་གཙུག་གཏོར་ལགས། །མཾ་ག་ལཾ།།
二、銘文轉寫
（粗體字為筆者所加，用以突顯在讚頌中嵌入上師名諱音節進行創作的藏文傳統。）
@| shes bya kun la blo gros can| |gcig tu gzhan don la dga' ba| | rgyal sras mtshan dpe'i dpal gyis mdzes| |paṇ chen bzang po 'i zhabs pad 'dud| |rgyal tshab kun dga' dbang phyug pa'i| |thugs dgongs rdzogs phyir paṇ chen sku| |sa skyong ā yi seng ge'i bkas| |legs gnang bzo rig gtsug gtor lags|| maṃ ga laṃ||
三、銘文譯文
「頂禮大班智達之蓮足，
彼可通達一切知，
唯喜利他諸事業，
菩薩相好以莊嚴。
為圓滿傑策·貢嘎旺秋之宏願，
此班智達聖像[之委託]，
薩姜阿義僧格給之命，
乃成工巧技藝之巔峰。
吉祥圓滿。」
With a Tibetan inscription around the foot of the base.
Himalayan Art Resources item no. 2813
33.7 cm (13 1/4 in.) high
Published
Amy Heller, "Portable Buddhist Sculptures of Lo: A Chronological Selection, 15th through 17th Centuries", in Erberto Lo Bue (ed.), Wonders of Lo: The Artistic Heritage of Mustang, 2010, p. 90, figs. 7.1a and b.
Yixi (ed.), The Art of Buddhist Sculpture, Beijing, 2013, pp. 128-9.
Meinrad Maria Grewenig & Eberhard Rist (eds.), Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, pp. 42 & 438-9, no. 192.
The Art of Buddhist Sculpture, Capital Museum, Beijing, 8—28 November 2013.
Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016—19 February 2017.
銅鎏金薩迦班智達像
西藏 約1480-90年
著錄
Amy Heller，「Portable Buddhist Sculptures of Lo: A Chronological Selection, 15th through 17th Centuries」，收錄於 Erberto Lo Bue 編， 《Wonders of Lo：The Artistic Heritage of Mustang》，2010年，頁90， 圖7.1a及b
一西編，《佛韻 : 造像藝術集粹》，北京，2013年，頁128-9
Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha：2000 Years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年，頁42 及 438-9, 編號192
展覽
「佛韻 : 造像藝術集粹」，首都博物館，北京，2013年11月8日至2013年11月28日
「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
Sakya Pandita's (1182-1251) legacy as a scholar and religious leader remains among the greatest of all time. His teachings and writings are widely revered throughout Tibetan literature. He is known to have mastered all tantric practices, and his many treatises include a complete explication of the Mahayana path (Elucidating the Intention of the Sage). This portrait commemorates his fathomless knowledge and prodigious instruction, with the accouterments of a sword and book equating Sakya Pandita with Manjushri, the Bodhisattva of Perfected Wisdom himself. He is also attributed an urna, which represents a tuft of hair at the center of the brow, which, according to ancient treatises, is a mark of a Great Being shared by Buddha Shakyamuni. After Phagmodrupa (1110-70), who is considered a Second Buddha in Tibet, Sakya Pandita is considered a Third.
Sakya Pandita is also credited with the conversion of the Mongols to Buddhism. His reputation as the wisest Buddhist master of his time prompted the Mongol prince Khoden Khan to summon him to present-day Inner Mongolia in 1244. There, accompanied by his nephew Chogyal Pagpa, Sakya Pandita spread Buddhism and, according to Stearns, even "convinced Godan Khan to ban some barbarous practices used to subjugate the Chinese population, such as drowning males above the age of nine from fear of rebellion" (Dinwiddie (ed.), Portraits of the Masters, 2003, p. 208). Sakya Pandita's unmatched sagacity among the Mongol rulers initiated the conditions for a political alliance established with his nephew between the Sakya and the Yuan dynasty for which Tibet would never be the same again.
薩迦班智達（1182-1251）作為一位學者與宗教領袖之成就，如一座豐碑，其盛名於各時代皆位列最為偉大的傳奇之中。其教法與著作在整部西藏文學史中皆受尊崇。據説薩迦班智達精通所有密續法門，在他所撰寫的眾多論著中，包括一部對大乘道完整闡釋的巨著《牟尼密意顯明論》。此尊肖像紀念上師深不可測之智慧與非凡之教導，象徵智慧之劍與經書更將薩迦班智達比為大智文殊師利菩薩。他額間亦具「白毫」，為眉間的一縷髮，根據古老經論，這是包括釋迦牟尼佛在內的「三十二相」之一。在被譽為「第二佛陀」的帕木竹巴（1110-70）之後，薩迦班智達被視為「第三佛陀」。
此外，薩迦班智達也因使蒙古人歸依佛教而聞名於世。其作為當時最智慧之佛教大師這一盛名，正是由蒙古王子闊端汗於1244年召見他至如今內蒙古一帶更得宣揚。薩迦班智達與其姪子卻吉帕巴同行，在當地弘揚佛法；據史丹斯所載，他甚至「說服闊端汗禁止一些用以鎮壓漢人之極為野蠻的刑罰，例如因畏懼叛亂而將九歲以上的男子溺死」(見Dinwiddie編，《Portraits of the Masters》，2003年，頁208)。薩迦班智達在蒙古統治者之間無可匹敵的睿智，促成了他與其姪子所建立的薩迦與元朝之間的政治聯盟，從此徹底改變了西藏的歷史進程。
A Study of the Inscription by Dr. Jörg Heimbel
1. Tibetan Inscription
The author has added bold emphasis to illustrate the Tibetan custom of weaving the individual syllables that make up a Tibetan master's name into the praise.
࿓། ཤེས་བྱ་ཀུན་ལ་བློ་གྲོས་ཅན། །གཅིག་ཏུ་གཞན་དོན་ལ་ དགའ་ བ། ། རྒྱལ་ སྲས་ མཚན་ དཔེའི་ དཔལ་ གྱིས་མཛེས། །པཎ་ཆེན་ བཟང་པོ འི་ཞབས་པད་འདུད། །རྒྱལ་ཚབ་ཀུན་དགའ་དབང་ཕྱུག་པའི། །ཐུགས་དགོངས་རྫོགས་ཕྱིར་པཎ་ཆེན་སྐུ། །ས་སྐྱོང་ཨཱ་ཡི་སེང་གེའི་བཀས། །ལེགས་གནང་བཟོ་རིག་གཙུག་གཏོར་ལགས། །མཾ་ག་ལཾ།།
2. Transliteration
The bold emphasis has been added by the author to illustrate the Tibetan custom of weaving the individual syllables that make up the name of a Tibetan master into the praise.
@| shes bya kun la blo gros can| |gcig tu gzhan don la dga' ba| | rgyal sras mtshan dpe'i dpal gyis mdzes| |paṇ chen bzang po 'i zhabs pad 'dud| |rgyal tshab kun dga' dbang phyug pa'i| |thugs dgongs rdzogs phyir paṇ chen sku| |sa skyong ā yi seng ge'i bkas| |legs gnang bzo rig gtsug gtor lags|| maṃ ga laṃ||
3. English Translation
I prostrate myself at the lotus feet of the excellent Great Paṇḍita,
Who is proficient in all objects of knowledge,
Who delights only in the benefit of others and
Who is adorned with the glory of the characteristic marks of a bodhisattva.
To fulfill the intentions of Gyeltsap Künga Wangchuk,
The statue of the Great Paṇḍita [commissioned]
As excellently ordered by Sakyong Ayi Sengge
Is the pinnacle of craftsmanship.
Maṅgalaṃ.
一、藏文銘文
（粗體字為筆者所加，用以突顯在讚頌中嵌入上師名諱音節進行創作的藏文傳統。）
࿓། ཤེས་བྱ་ཀུན་ལ་བློ་གྲོས་ཅན། །གཅིག་ཏུ་གཞན་དོན་ལ་ དགའ་ བ། ། རྒྱལ་ སྲས་ མཚན་ དཔེའི་ དཔལ་ གྱིས་མཛེས། །པཎ་ཆེན་ བཟང་པོ འི་ཞབས་པད་འདུད། །རྒྱལ་ཚབ་ཀུན་དགའ་དབང་ཕྱུག་པའི། །ཐུགས་དགོངས་རྫོགས་ཕྱིར་པཎ་ཆེན་སྐུ། །ས་སྐྱོང་ཨཱ་ཡི་སེང་གེའི་བཀས། །ལེགས་གནང་བཟོ་རིག་གཙུག་གཏོར་ལགས། །མཾ་ག་ལཾ།།
二、銘文轉寫
（粗體字為筆者所加，用以突顯在讚頌中嵌入上師名諱音節進行創作的藏文傳統。）
@| shes bya kun la blo gros can| |gcig tu gzhan don la dga' ba| | rgyal sras mtshan dpe'i dpal gyis mdzes| |paṇ chen bzang po 'i zhabs pad 'dud| |rgyal tshab kun dga' dbang phyug pa'i| |thugs dgongs rdzogs phyir paṇ chen sku| |sa skyong ā yi seng ge'i bkas| |legs gnang bzo rig gtsug gtor lags|| maṃ ga laṃ||
三、銘文譯文
「頂禮大班智達之蓮足，
彼可通達一切知，
唯喜利他諸事業，
菩薩相好以莊嚴。
為圓滿傑策·貢嘎旺秋之宏願，
此班智達聖像[之委託]，
薩姜阿義僧格給之命，
乃成工巧技藝之巔峰。
吉祥圓滿。」