LOT 118
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A GILT COPPER ALLOY FIGURE OF A LAMA, PROBABLY BHUTON RINCHEN DRUB CENTRAL TIBET, SHALU MONASTERY, 14TH CENTURY
作品估价：HKD 1,500,000-2,000,000
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：
118
拍品名称：
A GILT COPPER ALLOY FIGURE OF A LAMA, PROBABLY BHUTON RINCHEN DRUB CENTRAL TIBET, SHALU MONASTERY, 14TH CENTURY
拍品描述：
CENTRAL TIBET, SHALU MONASTERY, 14TH CENTURY
Himalayan Art Resources item no. 2815
20 cm (7 7/8 in.) high
Acquired in France, 2019
銅鎏金上師像 或為布頓仁欽珠
夏魯寺 藏中 十四世紀
來源
入藏於法國，2019年
At first glance, this sculpture's cascading layers of monastic robes evoke the elegant imagery of Northern Wei bodhisattvas. The incised edges of each fold form crescent waves, sweeping across the drapery like the petals of a flourishing Chinese peony. These meticulously chased floral motifs are crisp and fluid, creating a graceful rhythm throughout the garments. The master's tranquil visage is rendered with warm, gentle features, unburdened by worldly excess. Subtle modeling around the mouth and chin imparts a contemplative air. Elegantly arched eyebrows and slender, slightly slanted eyes recall the refined style seen in painted murals of bodhisattvas in the Tsang region of Central Tibet. In his left hand, a sutra affirms his unparalleled knowledge and lifelong devotion to various teachings. Among the most exquisite details are lotus stems at each shoulder, whose swirling leaves have the quality of fine jewelry. Two layers of incised lotus petals unfold in sharp heart shapes, supporting a vajra and ghanta displayed with exceptional detail—particularly the ornate girdle encircling the ghanta's shoulder. On the figure's back, each hem of intricate floral patterns is crisp and refined, contrasting the smooth, shimmering, undecorated sections of the patchwork robe. This distinctive treatment is closely associated with the artistic traditions of Shalu Monastery.
A remarkable convergence of Nepalese craftsmanship, Chinese aesthetics, and Tibetan religious tradition coalesces at Shalu Monastery—arguably unmatched among Tibetan monastic sites in its ambitious adoption of Chinese architectural and sartorial elements. Founded in 1040 AD by Chetsun Sherab Jungnay of the Che clan in the Nyangro region near Shigatse, Shalu underwent major expansions and renovations under the leadership of Kunzang Dragpa Gyaltsen and his successors. By the mid-14th century, these efforts had transformed the Serkhang monastic complex into a spectacular host for some of Tibet's earliest and most exquisite murals. During the reign of the Yuan emperor Chengzong (r. 1294–1307), Kunzang Dragpa Gyaltsen—then the lay ruler of Shalu—visited the Yuan court. This diplomatic encounter catalyzed Shalu's formative engagement with Chinese material culture, culminating in the 1306-to-1320 renovation sponsored by the emperor. Architects and artists from Eastern Tibet and China, many trained under the Nepalese master Aniko (1245–1306), introduced Chinese-style roof structures with pavilioned wings and glazed tiles. The newly painted walls featured dragons, clouds, and jataka tales depicting scenes of daily life at the Yuan court. Celestial and secular robes in the Chinese style became a hallmark at Shalu, such as those rendered in depictions of the Four Guardian Kings and a frequently discussed mural scene with Sumagadhi (illustrated in Yu, A History of Tibetan Painting Styles, 2023, pp. 363 & 388, figs. E106 & E139).
This gilt bronze portrait may be viewed as a sculptural counterpart to those splendid 14th-century murals. It shares striking affinities with depictions of both monastic and lay figures from that era. In Kanjur Lhakhang, for instance, a 14th-century image of Buddha Shakyamuni, wears a robe with edges intricately folded in and out—creating volume beneath his raised arm and producing wave-like folds along the lower hem; in a slightly earlier image of Sherab Jungnay, he wears a patchwork robe with same effect (Jackson, The Nepalese Legacy in Tibetan Painting, 2018, p. 106, fig. 6.15 & 6.13). This very effect is captured in the bronze's drapery on both front and back. Two primary decorative motifs dominate the gilded surface: scrolling foliage that terminates in cloud-like curves and flowers featuring teardrop-shaped centers framed by pointed oval petals. Such exquisite scrollwork, redolent of the Newari artisan's remarkable painterly skill, also appears in Shalu's wall paintings, such as within the blue aureole framing Sherab Jungnay's head. Notably, the lotus form in this bronze also parallels that seen in prominent period works, such as a kesi Vajrabhairava mandala in the Metropolitan Museum of Art, New York (fig. 1; 1992.54).
The style of the sculpture's lotus base also attributes the bronze to the 14th century, the high period of Shalu's artistic production. The distinctive broad and rounded petals with raised tips are distant from the slender and pointed corolla of Tibetan bronzes from the 15th century, informed by the early Ming imperial style. Rather, the current configuration, though with a more pronounced inner layer, has a closer affinity with the Pala style of Northeastern India and 12th-to-14th-century non-gilt bronzes produced during the formative period of Tibetan art that drew from it. Within the 14th-century murals of Shalu's Shangpa Kagyu Avalokiteshvara Chapel, painted hierarchs sit above the same type of lotus petals featured in the present bronze (fig. 2; HAR 52626). Shading between the two tiers creates a compelling illusion of light and shadow that parallels the refined artistry of this bronze. The sutra in the palm of the figure's left hand is another element indicating the bronze predates the 15th century. Its long and thin shape imitates earlier palm leaf sutras of Indian and Nepalese origin. Refer to an 11th-12th-century Nepalese sutra with similar large scrolling patterns on the cover (fig. 3; Metropolitan Museum of Art, New York, 1994.78.1a, b).
Buton Rinchen Drub (1290-1364) was central to Shalu's transformation in the 14th century. From a young age, Buton was recognized for his remarkable scholarly aptitude, delving into the teachings of Hevajra, Prajnaparamita, the Kadam tradition of Avalokitesvara, and Madhyamaka under the leading masters of his day. His lifelong devotion to scholarship ultimately secured his reputation as both a visionary leader and a venerated scholar. At the age of thirty-one, Buton was appointed the Eleventh Abbot of Shalu. As Abbot, he greatly expanded the monastery, overseeing the construction of new stupas and temples, commissioning numerous painted mandalas, and completing an important guide to mandala art. He established a monastic college at Shalu devoted to sutra-based philosophy and newly introduced tantra traditions, many of which he taught. He composed numerous doctrinal treatises and played a pivotal role in preparing texts that became the foundation of many later editions of the Tibetan Buddhist canon. Because of these extensive efforts, later enumerations of Shalu's abbots often count him as the first in a lineage. His profound contributions—in scholarship, teaching, and institutional development—cemented Buton's place as one of the most important figures in Shalu's history. Buton is typically represented with the vajra and ghanta flowering by his shoulders (HAR set no. 2090). These attributes symbolize his peerless command of tantric doctrine. Therefore, given the present sculpture's quality, iconography, and provenance, it can be reasonably concluded that this superlative figure represents Shalu's preeminent sage.
上師衣袂飄落，引人懷想北魏微笑的菩薩。月牙形層層衣褶堆疊如牡丹。藝術家以極為精細的筆觸，在衣邊刻畫著蓮與捲葉，優雅如流水翻湧。上師神情沉靜，面容溫暖而柔和，雖衣飾華貴萬千，自有不以物喜的風範。嘴角含笑，光影明暗間營造真實質感。彎眉與輕微上揚的鳳眼彷彿由勾勒了西藏中部最精美的壁畫上古雅的菩薩的同一隻筆畫成。左手握著經書，證實其無與倫比的博學廣識，以及終生對佛學之熱忱。在這尊輝煌的造像諸多令人讚歎之處中，雙肩的蓮花尤為奪目，捲葉迴繞，花朵搖風，精雕細琢，有如珠寶。覆仰蓮瓣片片立體，桃形邊緣銳利，托舉著金剛鈴杵——金剛鈴外綴滿瓔珞，玲瓏可愛。背面橫豎交錯的鋒利刻花與光潔如絲綢的表面相映成趣，繁簡相宜。其風格所映照出的古老藝術傳統以夏魯寺尤為接近。
如一部宏大的尼泊爾工藝、中國式審美與西藏宗教傳統寫就的交響，夏魯寺所展現的或許為西藏高原所有寺廟中對融合並再現中國建築與衣飾潮流最無比的雄心與成就。1040年，介氏家族後裔介尊喜饒瓊乃創立夏魯寺，位於日喀則臨近古稱娘洛之地。在古相扎巴堅贊及其繼任者掌管此地的數十年間，夏魯寺得以空前規模進行擴建與更新。在十四世紀中期以前，種種努力將夏魯寺塑造為龐大而瑰麗的藝術聖殿，擁有一些西藏最古老而優美的壁畫。元成宗（1294-1307年在位）時，彼時夏魯之領導者古相扎巴堅贊曾前往元大都。此政治與外交際會催生了夏魯寺與中國物質文明意義深遠的相遇與相融，並促成1306至1320年間元皇帝對夏魯寺更新直接的鼎力資助。來自中原與藏地東部的建築家與藝術家們將中國式的飛簷與琉璃瓦、亭台樓閣營造於此，他們中曾跟隨尼泊爾大師阿尼哥（1245-1306）習藝者大有人在。一鋪鋪佛傳與菩薩像，龍飛鳳舞、帝王將相乃至日常器物，夏魯壁畫中洋洋灑灑有一派中原盛世的圖景。無論天境抑或世俗人物，褒衣博帶，長舒廣袖，中原時尚成為夏魯寺之符號（諸多壁畫皆如是，如衣帶當風的四天王立像以及《須摩提女請佛緣》，近期著錄可參考于小冬之《西藏繪畫風格史》，2023年，頁363及388，圖106及139）。
而此尊銅鎏金造像可視為這些十四世紀滿壁風動的絢麗壁畫之造像譯本。造像風格與宗教繪像以及世俗場景如此異曲同工，令人訝異。甘珠爾殿內一鋪十四世紀釋迦牟尼像之佛衣垂落，於臂下及蓮台上皆形成凹凸回轉的波浪層疊，而稍早於此之夏魯祖師喜饒瓊乃像僧衣為拼綴而成，衣褶塑造如出一轍（Jackson，《The Nepalese Legacy in Tibetan Painting》，2018年，頁106，圖6.15及6.13）。此造像正於靜態中精準呈現衣物飄落蓮台之動感，前後皆如此。衣物表面則見兩重花紋交織，一為卷草紋蔓延不絕，末端枝芽分展如祥雲；另一則花瓣橢圓且末端為尖，花心呈水滴形且多以刻線畫出三瓣。花葉構思繁複而優美，折射著尼泊爾畫師工筆般細緻之手法，在夏魯寺之壁畫中亦多見，如大殿喜饒瓊乃壁畫頭光中。而如出一轍之環草與蓮花圖樣，同樣出現於著名的紐約大都會博物館藏元代大威德金剛緙絲之上（圖1；1992.54）。
蓮座之樣式頗為獨特，亦為十四世紀夏魯寺之黃金時代所作之風格。與持金剛鈴杵之蓮花一樣，花瓣圓潤平闊，邊緣微微翹起，與因明初期影響而形成的西藏十五世紀標誌性的細長鼓起的蓮瓣形制截然不同。此蓮座與印度東北部之帕拉風格、以及西藏於十二至十四世紀之藝術發展核心時期依帕拉遺風而造之不鎏金銅像更為接近，儘管銅像內層蓮瓣更為柔和立體。在夏魯寺十四世紀以四臂觀音像而聞名的嘎加羌殿的北壁，教法傳承圖中眾祖師們所端坐之蓮座樣式正如此銅像別無二致（圖2；喜馬拉雅藝術資源網52626號）。壁畫中內外蓮瓣之間陰影渲染著真實的空間層次，與銅像所精妙營造之蓮瓣質感交相印證著彼時之審美。另一將此造像與十五世紀風格區分而來並應造於此前之細節為上師手中經書。印度以及尼泊爾貝葉經極為細長之形狀在此得以借鑒。紐約大都會博物館亦藏有一對十一至十二世紀尼泊爾護經板，上刻有同樣的經典尼泊爾式大捲葉紋（圖3；1994.78.1a, b）。
布頓仁欽珠（1290-1364）為夏魯寺十四世紀改革之拱頂人物，為此時代之核心書寫者。布頓卓爾不凡的學術天賦自其年少便得讚揚，少時便跟隨其時代之大師研修喜金剛密法、般若波羅蜜多經、修持噶當之觀音密法以及中觀思想。其渴仰知識，終生不倦，最終成就其為高瞻遠矚的領袖與學識淵博的大師。布頓後成為夏魯寺第十一任住持，時年三十一歲。此後，布頓大師大刀闊斧地擴展寺廟，領導佛塔以及寺廟之興造，命造諸多曼荼羅繪畫，並親自完成曼荼羅儀軌之著作。在夏魯，布頓大師亦曾建立一座學院，以傳揚經義哲學與新傳入之密法傳統，多有親自講授。大師著作極豐，撰寫諸多理論文本與教義，為西藏佛學寶庫中大量後期版本之基礎。由於其貢獻深遠，後世住持多將布頓大師視為其傳承之初祖。布頓大師於學術研究、教法宣講以及寺廟之革新等等皆建樹非凡，為夏魯之史書一座光輝的的豐碑。布頓大師之典型形象
正如此銅像般，雙肩蓮花各持金剛鈴杵（喜馬拉雅藝術資源網系列編號set no. 2090），以莊嚴的法器象徵其無上的密法成就。因此，依此造像無與倫比之品質、圖像特徵以及來源溯考，其極有可能為曾經創造夏魯寺藝術與宗教輝煌的大師：布頓仁欽珠。
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. 2815
20 cm (7 7/8 in.) high
Acquired in France, 2019
銅鎏金上師像 或為布頓仁欽珠
夏魯寺 藏中 十四世紀
來源
入藏於法國，2019年
At first glance, this sculpture's cascading layers of monastic robes evoke the elegant imagery of Northern Wei bodhisattvas. The incised edges of each fold form crescent waves, sweeping across the drapery like the petals of a flourishing Chinese peony. These meticulously chased floral motifs are crisp and fluid, creating a graceful rhythm throughout the garments. The master's tranquil visage is rendered with warm, gentle features, unburdened by worldly excess. Subtle modeling around the mouth and chin imparts a contemplative air. Elegantly arched eyebrows and slender, slightly slanted eyes recall the refined style seen in painted murals of bodhisattvas in the Tsang region of Central Tibet. In his left hand, a sutra affirms his unparalleled knowledge and lifelong devotion to various teachings. Among the most exquisite details are lotus stems at each shoulder, whose swirling leaves have the quality of fine jewelry. Two layers of incised lotus petals unfold in sharp heart shapes, supporting a vajra and ghanta displayed with exceptional detail—particularly the ornate girdle encircling the ghanta's shoulder. On the figure's back, each hem of intricate floral patterns is crisp and refined, contrasting the smooth, shimmering, undecorated sections of the patchwork robe. This distinctive treatment is closely associated with the artistic traditions of Shalu Monastery.
A remarkable convergence of Nepalese craftsmanship, Chinese aesthetics, and Tibetan religious tradition coalesces at Shalu Monastery—arguably unmatched among Tibetan monastic sites in its ambitious adoption of Chinese architectural and sartorial elements. Founded in 1040 AD by Chetsun Sherab Jungnay of the Che clan in the Nyangro region near Shigatse, Shalu underwent major expansions and renovations under the leadership of Kunzang Dragpa Gyaltsen and his successors. By the mid-14th century, these efforts had transformed the Serkhang monastic complex into a spectacular host for some of Tibet's earliest and most exquisite murals. During the reign of the Yuan emperor Chengzong (r. 1294–1307), Kunzang Dragpa Gyaltsen—then the lay ruler of Shalu—visited the Yuan court. This diplomatic encounter catalyzed Shalu's formative engagement with Chinese material culture, culminating in the 1306-to-1320 renovation sponsored by the emperor. Architects and artists from Eastern Tibet and China, many trained under the Nepalese master Aniko (1245–1306), introduced Chinese-style roof structures with pavilioned wings and glazed tiles. The newly painted walls featured dragons, clouds, and jataka tales depicting scenes of daily life at the Yuan court. Celestial and secular robes in the Chinese style became a hallmark at Shalu, such as those rendered in depictions of the Four Guardian Kings and a frequently discussed mural scene with Sumagadhi (illustrated in Yu, A History of Tibetan Painting Styles, 2023, pp. 363 & 388, figs. E106 & E139).
This gilt bronze portrait may be viewed as a sculptural counterpart to those splendid 14th-century murals. It shares striking affinities with depictions of both monastic and lay figures from that era. In Kanjur Lhakhang, for instance, a 14th-century image of Buddha Shakyamuni, wears a robe with edges intricately folded in and out—creating volume beneath his raised arm and producing wave-like folds along the lower hem; in a slightly earlier image of Sherab Jungnay, he wears a patchwork robe with same effect (Jackson, The Nepalese Legacy in Tibetan Painting, 2018, p. 106, fig. 6.15 & 6.13). This very effect is captured in the bronze's drapery on both front and back. Two primary decorative motifs dominate the gilded surface: scrolling foliage that terminates in cloud-like curves and flowers featuring teardrop-shaped centers framed by pointed oval petals. Such exquisite scrollwork, redolent of the Newari artisan's remarkable painterly skill, also appears in Shalu's wall paintings, such as within the blue aureole framing Sherab Jungnay's head. Notably, the lotus form in this bronze also parallels that seen in prominent period works, such as a kesi Vajrabhairava mandala in the Metropolitan Museum of Art, New York (fig. 1; 1992.54).
The style of the sculpture's lotus base also attributes the bronze to the 14th century, the high period of Shalu's artistic production. The distinctive broad and rounded petals with raised tips are distant from the slender and pointed corolla of Tibetan bronzes from the 15th century, informed by the early Ming imperial style. Rather, the current configuration, though with a more pronounced inner layer, has a closer affinity with the Pala style of Northeastern India and 12th-to-14th-century non-gilt bronzes produced during the formative period of Tibetan art that drew from it. Within the 14th-century murals of Shalu's Shangpa Kagyu Avalokiteshvara Chapel, painted hierarchs sit above the same type of lotus petals featured in the present bronze (fig. 2; HAR 52626). Shading between the two tiers creates a compelling illusion of light and shadow that parallels the refined artistry of this bronze. The sutra in the palm of the figure's left hand is another element indicating the bronze predates the 15th century. Its long and thin shape imitates earlier palm leaf sutras of Indian and Nepalese origin. Refer to an 11th-12th-century Nepalese sutra with similar large scrolling patterns on the cover (fig. 3; Metropolitan Museum of Art, New York, 1994.78.1a, b).
Buton Rinchen Drub (1290-1364) was central to Shalu's transformation in the 14th century. From a young age, Buton was recognized for his remarkable scholarly aptitude, delving into the teachings of Hevajra, Prajnaparamita, the Kadam tradition of Avalokitesvara, and Madhyamaka under the leading masters of his day. His lifelong devotion to scholarship ultimately secured his reputation as both a visionary leader and a venerated scholar. At the age of thirty-one, Buton was appointed the Eleventh Abbot of Shalu. As Abbot, he greatly expanded the monastery, overseeing the construction of new stupas and temples, commissioning numerous painted mandalas, and completing an important guide to mandala art. He established a monastic college at Shalu devoted to sutra-based philosophy and newly introduced tantra traditions, many of which he taught. He composed numerous doctrinal treatises and played a pivotal role in preparing texts that became the foundation of many later editions of the Tibetan Buddhist canon. Because of these extensive efforts, later enumerations of Shalu's abbots often count him as the first in a lineage. His profound contributions—in scholarship, teaching, and institutional development—cemented Buton's place as one of the most important figures in Shalu's history. Buton is typically represented with the vajra and ghanta flowering by his shoulders (HAR set no. 2090). These attributes symbolize his peerless command of tantric doctrine. Therefore, given the present sculpture's quality, iconography, and provenance, it can be reasonably concluded that this superlative figure represents Shalu's preeminent sage.
上師衣袂飄落，引人懷想北魏微笑的菩薩。月牙形層層衣褶堆疊如牡丹。藝術家以極為精細的筆觸，在衣邊刻畫著蓮與捲葉，優雅如流水翻湧。上師神情沉靜，面容溫暖而柔和，雖衣飾華貴萬千，自有不以物喜的風範。嘴角含笑，光影明暗間營造真實質感。彎眉與輕微上揚的鳳眼彷彿由勾勒了西藏中部最精美的壁畫上古雅的菩薩的同一隻筆畫成。左手握著經書，證實其無與倫比的博學廣識，以及終生對佛學之熱忱。在這尊輝煌的造像諸多令人讚歎之處中，雙肩的蓮花尤為奪目，捲葉迴繞，花朵搖風，精雕細琢，有如珠寶。覆仰蓮瓣片片立體，桃形邊緣銳利，托舉著金剛鈴杵——金剛鈴外綴滿瓔珞，玲瓏可愛。背面橫豎交錯的鋒利刻花與光潔如絲綢的表面相映成趣，繁簡相宜。其風格所映照出的古老藝術傳統以夏魯寺尤為接近。
如一部宏大的尼泊爾工藝、中國式審美與西藏宗教傳統寫就的交響，夏魯寺所展現的或許為西藏高原所有寺廟中對融合並再現中國建築與衣飾潮流最無比的雄心與成就。1040年，介氏家族後裔介尊喜饒瓊乃創立夏魯寺，位於日喀則臨近古稱娘洛之地。在古相扎巴堅贊及其繼任者掌管此地的數十年間，夏魯寺得以空前規模進行擴建與更新。在十四世紀中期以前，種種努力將夏魯寺塑造為龐大而瑰麗的藝術聖殿，擁有一些西藏最古老而優美的壁畫。元成宗（1294-1307年在位）時，彼時夏魯之領導者古相扎巴堅贊曾前往元大都。此政治與外交際會催生了夏魯寺與中國物質文明意義深遠的相遇與相融，並促成1306至1320年間元皇帝對夏魯寺更新直接的鼎力資助。來自中原與藏地東部的建築家與藝術家們將中國式的飛簷與琉璃瓦、亭台樓閣營造於此，他們中曾跟隨尼泊爾大師阿尼哥（1245-1306）習藝者大有人在。一鋪鋪佛傳與菩薩像，龍飛鳳舞、帝王將相乃至日常器物，夏魯壁畫中洋洋灑灑有一派中原盛世的圖景。無論天境抑或世俗人物，褒衣博帶，長舒廣袖，中原時尚成為夏魯寺之符號（諸多壁畫皆如是，如衣帶當風的四天王立像以及《須摩提女請佛緣》，近期著錄可參考于小冬之《西藏繪畫風格史》，2023年，頁363及388，圖106及139）。
而此尊銅鎏金造像可視為這些十四世紀滿壁風動的絢麗壁畫之造像譯本。造像風格與宗教繪像以及世俗場景如此異曲同工，令人訝異。甘珠爾殿內一鋪十四世紀釋迦牟尼像之佛衣垂落，於臂下及蓮台上皆形成凹凸回轉的波浪層疊，而稍早於此之夏魯祖師喜饒瓊乃像僧衣為拼綴而成，衣褶塑造如出一轍（Jackson，《The Nepalese Legacy in Tibetan Painting》，2018年，頁106，圖6.15及6.13）。此造像正於靜態中精準呈現衣物飄落蓮台之動感，前後皆如此。衣物表面則見兩重花紋交織，一為卷草紋蔓延不絕，末端枝芽分展如祥雲；另一則花瓣橢圓且末端為尖，花心呈水滴形且多以刻線畫出三瓣。花葉構思繁複而優美，折射著尼泊爾畫師工筆般細緻之手法，在夏魯寺之壁畫中亦多見，如大殿喜饒瓊乃壁畫頭光中。而如出一轍之環草與蓮花圖樣，同樣出現於著名的紐約大都會博物館藏元代大威德金剛緙絲之上（圖1；1992.54）。
蓮座之樣式頗為獨特，亦為十四世紀夏魯寺之黃金時代所作之風格。與持金剛鈴杵之蓮花一樣，花瓣圓潤平闊，邊緣微微翹起，與因明初期影響而形成的西藏十五世紀標誌性的細長鼓起的蓮瓣形制截然不同。此蓮座與印度東北部之帕拉風格、以及西藏於十二至十四世紀之藝術發展核心時期依帕拉遺風而造之不鎏金銅像更為接近，儘管銅像內層蓮瓣更為柔和立體。在夏魯寺十四世紀以四臂觀音像而聞名的嘎加羌殿的北壁，教法傳承圖中眾祖師們所端坐之蓮座樣式正如此銅像別無二致（圖2；喜馬拉雅藝術資源網52626號）。壁畫中內外蓮瓣之間陰影渲染著真實的空間層次，與銅像所精妙營造之蓮瓣質感交相印證著彼時之審美。另一將此造像與十五世紀風格區分而來並應造於此前之細節為上師手中經書。印度以及尼泊爾貝葉經極為細長之形狀在此得以借鑒。紐約大都會博物館亦藏有一對十一至十二世紀尼泊爾護經板，上刻有同樣的經典尼泊爾式大捲葉紋（圖3；1994.78.1a, b）。
布頓仁欽珠（1290-1364）為夏魯寺十四世紀改革之拱頂人物，為此時代之核心書寫者。布頓卓爾不凡的學術天賦自其年少便得讚揚，少時便跟隨其時代之大師研修喜金剛密法、般若波羅蜜多經、修持噶當之觀音密法以及中觀思想。其渴仰知識，終生不倦，最終成就其為高瞻遠矚的領袖與學識淵博的大師。布頓後成為夏魯寺第十一任住持，時年三十一歲。此後，布頓大師大刀闊斧地擴展寺廟，領導佛塔以及寺廟之興造，命造諸多曼荼羅繪畫，並親自完成曼荼羅儀軌之著作。在夏魯，布頓大師亦曾建立一座學院，以傳揚經義哲學與新傳入之密法傳統，多有親自講授。大師著作極豐，撰寫諸多理論文本與教義，為西藏佛學寶庫中大量後期版本之基礎。由於其貢獻深遠，後世住持多將布頓大師視為其傳承之初祖。布頓大師於學術研究、教法宣講以及寺廟之革新等等皆建樹非凡，為夏魯之史書一座光輝的的豐碑。布頓大師之典型形象
正如此銅像般，雙肩蓮花各持金剛鈴杵（喜馬拉雅藝術資源網系列編號set no. 2090），以莊嚴的法器象徵其無上的密法成就。因此，依此造像無與倫比之品質、圖像特徵以及來源溯考，其極有可能為曾經創造夏魯寺藝術與宗教輝煌的大師：布頓仁欽珠。
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