LOT 119
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A SILVER AND COPPER INLAID BRASS FIGURE OF AN ENTHRONED KAGYU LAMA, PROBABLY THE FIRST KARMAPA, DUSUM KYENPA CENTRAL TIBET, 13TH 14TH CENTURY
作品估价：HKD 300,000-500,000
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图录号：
119
拍品名称：
A SILVER AND COPPER INLAID BRASS FIGURE OF AN ENTHRONED KAGYU LAMA, PROBABLY THE FIRST KARMAPA, DUSUM KYENPA CENTRAL TIBET, 13TH 14TH CENTURY
拍品描述：
CENTRAL TIBET, 13TH/14TH CENTURY
Himalayan Art Resources item no. 2817
19.5 cm (7 7/8 in.) high
Published
Meinrad Maria Grewenig & Eberhard Rist (eds.), Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, pp. 382-3, no. 164.
Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016—19 February 2017.
Acquired in Hong Kong, 1998
錯銀錯紅銅噶舉喇嘛銅像 或為一世噶瑪巴杜松虔巴
西藏 十三/十四世紀
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382-3，編號164
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，1998年
Seated atop a lion throne embellished with precious metals is a lama from the Kagyu sect of Tibetan Buddhism. The bronze likely represents a portrait of the founder of the Karma Kagyu order, Dusum Kyenpa (1110-93), who is often depicted with wrinkles across the forehead, a protruding chin (not quite as pronounced in this example), and a scruffy beard or stubble. See HAR set no. 316 for other examples in painting and sculpture. The First Karmapa, Dusum Kyenpa, instituted the practice of intentional reincarnation in a way that disciples could recognize—a practice that forms the backbone of Tibetan Buddhism as we know it today. Here, like other portraits of early Kagyu masters, Dusum Kyenpa is modeled with short hair and squarish features. His clothing, consisting of a sleeveless vest inlaid with silver and a pleated robe inlaid at the hems with copper, contrasts against the bronze's overall honeyed complexion.
The combination of a plinth and lotus pedestal supporting this figure is of a non-gilded type commissioned by early Kagyu monasteries from the 12th to 14th centuries. Comparative examples include a portrait of Phagmodrupa (1110-70) in the Cleveland Museum of Art (1993.160), sharing a similar short crop of hair and attire. The semicircular shape of the throne is also a design inspired mainly by Pala period bronzes that were transported to Tibet from India. Several sculptures from the 11th century survive in collections, including four Indian Tathagatas in the Potala Palace, Lhasa (von Schroeder, Buddhist Sculptures in Tibet, Vol. I, 2001, pp. 250-9, nos. 78-81A-B), and a Tibetan seated Buddha emulating the Pala style in Asia Society, New York (Leidy & Lee, Treasures of Asian Art, 1994, p. 84, no. 66). For comparisons with other enthroned lamas from the 13th to 14th centuries, see one of similar size whose plinth includes a silver inlaid roundel with a star-shaped pattern at the front (Weldon & Singer, The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam Collection, 1999, p. 164, pl. 36), and another figure bearing a similarly contemplative expression in the collection of the Tsuglakang Temple (von Schroeder, Buddhist Sculptures in Tibet, Vol. II, 2001, p. 1186, no. 320A). A very closely related figure clearly from the same workshop as the present bronze was sold at Sotheby's, New York, 22 March 1989, lot 291.
端坐於飾以貴重金屬之獅子寶座上的，是藏傳佛教噶舉派的一位喇嘛。這尊銅像極有可能為噶瑪噶舉派創始祖師杜松虔巴（1110-93年）之肖像，其形象通常以額頭的皺紋、微凸的下巴（本例中並不明顯）以及稀疏的鬍鬚或鬍茬為特徵。其他繪畫及造像之例可參見喜馬拉雅藝術資源網一世噶瑪巴作品系列（set no. 316）。作為第一世噶瑪巴，杜松虔巴開創了弟子可認證的轉世制度，這一實踐成為當今藏傳佛教的核心傳統。在此像中，與其他早期噶舉派大師的肖像一樣，杜松虔巴被塑造成短髮和方臉的形象。他的服飾包括一件鑲銀的無袖坎肩和一件鑲銅邊的打褶長袍，與銅像整體蜜色的膚色形成鮮明對比。
須彌座與蓮台之結合，為一類十二至十四世紀早期噶舉派寺廟所施造之不鎏金銅造像典型。可供參考之例包括克利夫蘭藝術博物館藏帕木竹巴像（1110-70年；館藏編號1993.160），其短髮與服飾與本例相似。寶座的半圓形設計之主要靈感則為由印度傳入西藏之印度帕拉時期銅像。現存的一些十一世紀造像中，包括拉薩布達拉宮藏四尊印度如來像（參見von Schroeder，《Buddhist Sculptures in Tibet》，卷一，2001年，頁250-9，編號78-81A-B），以及紐約亞洲協會收藏的一尊仿帕拉風格之西藏坐佛像（Leidy及Lee，《Treasures of Asian Art》，1994年，頁84，編號66）。其他十三至十四世紀坐於寶座上的喇嘛造像，可參考一件尺寸相近的作品，其底座正面鑲嵌一銀飾圓盤，上有星形圖案（Weldon及Singer，《The Sculptural Heritage of Tibet：Buddhist Art in the Nyingjei Lam Collection》，1999年，頁164，圖版36），以及大昭寺收藏中一尊神情同樣呈沉思狀的造像（von Schroeder，《Buddhist Sculptures in Tibet》，卷二，2001年，頁1186，編號320A）。一件與本例極為相似且顯然出自同一工坊的銅像，曾於1989年3月22日於紐約蘇富比拍賣，拍品291。
Himalayan Art Resources item no. 2817
19.5 cm (7 7/8 in.) high
Published
Meinrad Maria Grewenig & Eberhard Rist (eds.), Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, pp. 382-3, no. 164.
Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016—19 February 2017.
Acquired in Hong Kong, 1998
錯銀錯紅銅噶舉喇嘛銅像 或為一世噶瑪巴杜松虔巴
西藏 十三/十四世紀
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382-3，編號164
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，1998年
Seated atop a lion throne embellished with precious metals is a lama from the Kagyu sect of Tibetan Buddhism. The bronze likely represents a portrait of the founder of the Karma Kagyu order, Dusum Kyenpa (1110-93), who is often depicted with wrinkles across the forehead, a protruding chin (not quite as pronounced in this example), and a scruffy beard or stubble. See HAR set no. 316 for other examples in painting and sculpture. The First Karmapa, Dusum Kyenpa, instituted the practice of intentional reincarnation in a way that disciples could recognize—a practice that forms the backbone of Tibetan Buddhism as we know it today. Here, like other portraits of early Kagyu masters, Dusum Kyenpa is modeled with short hair and squarish features. His clothing, consisting of a sleeveless vest inlaid with silver and a pleated robe inlaid at the hems with copper, contrasts against the bronze's overall honeyed complexion.
The combination of a plinth and lotus pedestal supporting this figure is of a non-gilded type commissioned by early Kagyu monasteries from the 12th to 14th centuries. Comparative examples include a portrait of Phagmodrupa (1110-70) in the Cleveland Museum of Art (1993.160), sharing a similar short crop of hair and attire. The semicircular shape of the throne is also a design inspired mainly by Pala period bronzes that were transported to Tibet from India. Several sculptures from the 11th century survive in collections, including four Indian Tathagatas in the Potala Palace, Lhasa (von Schroeder, Buddhist Sculptures in Tibet, Vol. I, 2001, pp. 250-9, nos. 78-81A-B), and a Tibetan seated Buddha emulating the Pala style in Asia Society, New York (Leidy & Lee, Treasures of Asian Art, 1994, p. 84, no. 66). For comparisons with other enthroned lamas from the 13th to 14th centuries, see one of similar size whose plinth includes a silver inlaid roundel with a star-shaped pattern at the front (Weldon & Singer, The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam Collection, 1999, p. 164, pl. 36), and another figure bearing a similarly contemplative expression in the collection of the Tsuglakang Temple (von Schroeder, Buddhist Sculptures in Tibet, Vol. II, 2001, p. 1186, no. 320A). A very closely related figure clearly from the same workshop as the present bronze was sold at Sotheby's, New York, 22 March 1989, lot 291.
端坐於飾以貴重金屬之獅子寶座上的，是藏傳佛教噶舉派的一位喇嘛。這尊銅像極有可能為噶瑪噶舉派創始祖師杜松虔巴（1110-93年）之肖像，其形象通常以額頭的皺紋、微凸的下巴（本例中並不明顯）以及稀疏的鬍鬚或鬍茬為特徵。其他繪畫及造像之例可參見喜馬拉雅藝術資源網一世噶瑪巴作品系列（set no. 316）。作為第一世噶瑪巴，杜松虔巴開創了弟子可認證的轉世制度，這一實踐成為當今藏傳佛教的核心傳統。在此像中，與其他早期噶舉派大師的肖像一樣，杜松虔巴被塑造成短髮和方臉的形象。他的服飾包括一件鑲銀的無袖坎肩和一件鑲銅邊的打褶長袍，與銅像整體蜜色的膚色形成鮮明對比。
須彌座與蓮台之結合，為一類十二至十四世紀早期噶舉派寺廟所施造之不鎏金銅造像典型。可供參考之例包括克利夫蘭藝術博物館藏帕木竹巴像（1110-70年；館藏編號1993.160），其短髮與服飾與本例相似。寶座的半圓形設計之主要靈感則為由印度傳入西藏之印度帕拉時期銅像。現存的一些十一世紀造像中，包括拉薩布達拉宮藏四尊印度如來像（參見von Schroeder，《Buddhist Sculptures in Tibet》，卷一，2001年，頁250-9，編號78-81A-B），以及紐約亞洲協會收藏的一尊仿帕拉風格之西藏坐佛像（Leidy及Lee，《Treasures of Asian Art》，1994年，頁84，編號66）。其他十三至十四世紀坐於寶座上的喇嘛造像，可參考一件尺寸相近的作品，其底座正面鑲嵌一銀飾圓盤，上有星形圖案（Weldon及Singer，《The Sculptural Heritage of Tibet：Buddhist Art in the Nyingjei Lam Collection》，1999年，頁164，圖版36），以及大昭寺收藏中一尊神情同樣呈沉思狀的造像（von Schroeder，《Buddhist Sculptures in Tibet》，卷二，2001年，頁1186，編號320A）。一件與本例極為相似且顯然出自同一工坊的銅像，曾於1989年3月22日於紐約蘇富比拍賣，拍品291。