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AN IMPORTANT MASSIVE IMPERIAL GILT COPPER-ALLOY FIGURE OF LONGNÜ Yuyongjian gong zao mark, cyclically dated to the Xinsi year of Chongzhen, corresponding to 1641 and of the period
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图录号：
205
拍品名称：
AN IMPORTANT MASSIVE IMPERIAL GILT COPPER-ALLOY FIGURE OF LONGNÜ Yuyongjian gong zao mark, cyclically dated to the Xinsi year of Chongzhen, corresponding to 1641 and of the period
拍品描述：
Yuyongjian gong zao mark, cyclically dated to the Xinsi year of Chongzhen, corresponding to 1641 and of the period
The imposing standing figure of the female deity with serene expression, looking ahead with eyes downcast, the mouth picked out in red, with pendulous ears, the black hair pulled back into double-loops, wearing a headdress formed of two gilt buns connected with a
ruyi tiara, holding aloft on a presentation cloth a quatralobed offering dish supporting a pearl, wearing long flowing robes flowing to each side exquisitely incised along the hems with a foliate scrolling lotus border, the chest with a large raised
ruyi enclosing a lotus blossom below the the necklace with a rectangular pendant and neck collar, with long variously incised stippled-ground
hu shaped ribbons enclosing floral cartouches, with cloud-shaped shoes extending from underneath the robes, the back robe with further
ruyi-shaped adornments below the shoulders, with a belt above the superbly adorned lower section with further pleats finely incised with dense cloud scrolls, all raised on the double lotus pedestal, with each lower lappet incised with a lotus blossom and each upper one with upright sprays, the fourteen character mark incised in double lines atop the pedestal in front of the figure, all richly gilt.
111cm (43 11/16in) high
明崇禎 銅鎏金龍女立像
「大明崇禎辛巳年虔命御用監恭造」款
Geraldine Rockefeller Dodge (1882-1973), Giralda Farms, Madison, New Jersey
Sotheby's Parke-Bernet, The Contents of Giralda: Front the Collection of the Late Geraldine Rockefeller Dodge, Madison, New Jersey, 7-11 October 1975, lot 263
Alan Hartman (1930-2023), New York
A & J Speelman Oriental Art, London
Sze Tak Tong Collection, acquired from the above circa 1975-1978
, Published and Illustrated:
The Min Chiu Society and Hong Kong Museum of Art, Honouring Tradition and Heritage: Min Chiu Society at Sixty, Hong Kong, 2020, pp.309-311, cat. no.148
來源：
傑拉爾丁·洛克菲勒·道奇（1882年-1973年）收藏，美國新澤西州麥迪遜市吉拉爾達莊園
蘇富比Parke Bernet，《The Contents of Giralda: Front the Collection of the Late Geraldine Rockefeller Dodge》專場，新澤西州麥迪遜市，1975年10月7日至11日，拍品編號263
艾倫·哈特曼（1930年-2023年），紐約
倫敦古董商A & J Speelman Oriental Art
世德堂藏品，約1975至1978年間購於上者
展覽著錄：
敏求精舍及香港藝術館：《聚道傳承：敏求精舍六十周年》，香港，2020年，頁309至311，圖錄編號148
Ethel Geraldine Rockefeller Dodge (1882-1973) was the daughter of William Avery Rockefeller Jr. (brother of John D. Rockefeller Sr.) and Almira Geraldine (Goodsell) Rockefeller. She married in 1907 Marcellus H. Dodge Sr., president of the Remington Arms Company, bringing to the marriage US$101 million. In addition to philanthropy, she was active in animal welfare, as well as being a breeder of dogs, writing on the subject and participating as a judge in major shows. The sale of the contents of Giralda, in which the present lot was included, took five days and comprised 1804 lots.
Immeasurable Historical Importance: When the Fate of an Empire and the Emperor Intertwine
The present massive figure of Longnü, can be counted amongst the rarest vestiges of the Ming dynasty - a testament to its last days. It was cast by the Imperial Domestic Services in the Xinsi year, corresponding to 1641, three short years before the demise of the Ming dynasty by the conquering Manchurian Qing. The commissioning of the three extant figures bearing the 1641 date is therefore of immeasurable historical importance.
As attested by the fine fourteen-character inscription, it would have been an Imperial commission, for which no expense was spared, denoting its importance to the Chongzhen Emperor.
This figure is one of the only three known extant examples bearing the same inscription, with the other two including:
1. A gilt copper-alloy figure of Sudhana (Shancai Tongzi), 109.2cm high, in the collection of Columbia University Libraries, New York, published by Pengliang Lu, Recasting the Past: The Art of Chinese Bronzes 1100-1900, The Metropolitan Museum of Art, New York, no.85.
2. A gilt copper-alloy figure of Weituo, 116.8cm high, in the Capital Museum, Beijing.
The Chongzhen Emperor (1611-1644), was the 17th and last Emperor of the Ming dynasty, reigning between 1627-1644.
The Imperial Ming Court during the last days of the Tianqi Emperor was dominated by the chief eunuch Wei Zhongxian. Additionally, from the 1620s onwards, the Court had to deal with internal rebellions on the one hand, and defending the north from the Manchu tribes, on the other. The former were driven by natural events such as drought, flooding, famine and plague, which all in addition to the corruption, hastened the demise of the Ming dynasty. The Chongzhen Emperor, after his brother's death, and being enthroned as an Emperor, made great efforts to stem this decline, trying to reform the civil and military establishment, and eliminating Wei Zhongxian, Madam Ke and other officials thought to be embroiled in a conspiracy.
In what context and for what purpose was the present figure as well as the other two bearing the same inscription made? Bearing in mind that these would have been highly expensive commissions at a time when funds were short and required for military and civil use, this question is even more intriguing. The answer to this is strongly intertwined with the fate of the Ming dynasty and that of an individual, the Son of Heaven, the Chongzhen Emperor.
It has been well researched that the Chongzhen Emperor became close to Catholicism between 1632 and 1641; for a comprehensive essay see Wang Qiyuan, 'Wandering Between Bodhisattva and Jesus: The Change and Influence of Chongzhen's Belief', International Comparative Literature, vol.4, no.4, 2021, pp.699−713.
However, several personal disasters in 1640 led him to return to the old ways. In June of that year, the Emperor experienced the apparition of the 'Nine Lotus Bodhisattva'; in July of that year, his beloved son Zhu Cihuan, Prince Daoling, by the Consort Tian died. This led him in the winter of 1640 to posthumously present him with a powerful Daoist title: 'The Filial Piety Mourning Spirit King' or Xuanji Ciying Zhenjun. Subsequently, the Emperor ordered his relatives to pay homage to the monks and visit the temples in the famous Mount Putuo, the abode of Guanyin, and one of the four sacred Buddhist mountains in China. Furthermore, the Imperial Academy was reconstructed, where the Emperor held rites in honour of Confucius.
Internally, in 1641, Xiangyang in north-western Hubei Province, fell to the hands of Zhang Xianzhong, and Luoyang in western Henan Province, fell to Li Zicheng, who three years later in 1644 captured Beijing leading to the death of the Chongzhen Emperor and the fall of the Ming dynasty.
This time of natural disasters and internal and external political turmoil, was equally mirrored in a personal period of internal discord, the Son of Heaven pulled between his native Daoism and Buddhism on the one hand, and the foreign Catholicism on the other, an Empire and Emperor out of kilter - a tumulus period, clutching at the hope that a change of belief might return harmony and balance.
It is in this exceptional context, in which events in China were also reflected and influenced the personal beliefs of the Emperor as the Son of Heaven, that the magnificent figure of Longnü, as well as the other two extant figures of Sudhana and Weituo, were specially commissioned. No doubt, part of the Chongzhen Emperor's return to Daoism and Buddhism, encapsulating his personal efforts to bring harmony back to the realm and save the Ming dynasty, and himself, with one existential fate intertwined with the other, making the present figure one of immeasurable historical importance, and the only one not in a public collection.
In Mahayana Buddhism, Longnü noted in the 12th chapter of the Lotus Sutra, is described in her initial form, as follows:
"There is the daughter of the nāga king Sāgara who is only eight years old. She is wise; her faculties are sharp; and she also well knows all the faculties and deeds of sentient beings. She has attained the power of recollection. She preserves all the profound secret treasures of the Buddhas, enters deep in meditation, and is well capable of discerning all dharmas. She instantly produced the thought of enlightenment and has attained the stage of nonretrogression. She has unhindered eloquence and thinks of sentient beings with as much compassion as if they were her own children. Her virtues are perfect. Her thoughts and explanations are subtle and extensive, merciful, and compassionate. She has a harmonious mind and has attained enlightenment."
The Buddha's disciple Śāriputra does not believe that a woman can attain Buddhahood. The nāga maiden, therefore, goes on to offer a pearl to the Buddha, symbolising her life and ego. When he accepts it, she is transformed into a perfected male Bodhisattva who has attained complete enlightenment.
埃塞爾·傑拉爾丁·洛克菲勒·道奇（1882-1973）系小威廉·艾弗裡·洛克菲勒（老約翰·D·洛克菲勒之弟）與阿爾米拉·傑拉爾丁（古德塞爾）·洛克菲勒之女。1907年，她與雷明頓軍火公司總裁馬塞勒斯·H·道奇時共結連理，嫁妝達1.01億美元。除慈善事業外，她積極推廣動物福利，培育犬隻及就此著書立說，並擔任重大賽事評審。其吉拉爾達莊園的藏品拍賣會（包含本拍品）歷時五日，共釋出1804件拍品。
帝國與帝王命運的交織
這尊龍女立像體量碩大，身軀挺拔，肩胸寬厚，面容豐潤，雍容大度，妙相莊嚴；鎏金光彩熠熠，整體華麗莊嚴，盡顯皇家氣派，可謂明代珍稀遺存之一。此立像於明崇禎十四年（1641年）由御用監鑄造，距滿清入關僅三年。這尊立像及現存兩尊同年鑄造的造像，亦是見證了王朝更迭的歷史，其歷史意義無可估量。
蓮座台面上刻有十四字：大明崇禎辛已年虔命御用監恭造，清晰表明此乃宮廷敕造之物，足見崇禎帝對其之重視。目前已知帶有相同銘文的造像僅兩例：紐約哥倫比亞大學圖書館藏一件銅鎏金善財童子像（高109.2厘米），載於陸鵬亮著《Recasting the Past: The Art of Chinese Bronzes, 1100-1900》，紐約大都會藝術博物館，編號85；北京首都博物館藏一件銅鎏金韋陀像（高116.8厘米）；
崇禎帝（生卒年1611—1644年，在位1627—1644年）作為明朝末代君主，在位期間面臨宦官專權（如魏忠賢）、北方後金政權威脅與國內民變交織的困局。加上天災頻發，吏治腐敗，更速其衰亡。崇禎帝自登基後，力圖革新軍政，鏟除權奸，然終難挽狂瀾。然而為何在國庫空虛、軍費吃緊之際，君主仍耗費巨資鑄造目前流傳這三尊造像？相信與崇禎帝個人信仰的轉變及明末政局有密切關係。
有研究指出崇禎五年（1632年）至十四年（1641年）間，皇帝漸漸傾向天主教，詳見王啟元〈徘徊於菩薩與耶穌之間——崇禎宮廷信仰變遷及其影響〉，《國際比較文學》，第 4 期，2021，頁 699至713。然而，崇禎十三年（1640年），國家連遭變故，使其回歸道佛：六月，出現「九蓮菩薩」異象；七月，田貴妃所出愛子朱慈煥因病夭折，遂追封「孺孝悼靈王、玄機慈應真君」。其後更敕親眷朝禮觀音道場普陀山，重修國子監，並行祭孔大典。
崇禎十四年（1641年），張獻忠破襄陽，李自成攻克洛陽。十七年（1644年），崇禎帝在煤山自縊。在這內憂外患、天災人禍之際，貴為天子的崇禎帝亦深陷佛道傳統與天主教信仰的拉扯，企望通過信仰改變而帶來和諧局面。
在此一特殊歷史背景下，龍女、善財與韋陀這三尊造像應運而生。不僅是崇禎帝回歸道佛的見證，更承載著一位帝王試圖挽救帝國與自身命運的奮力掙扎。兩者命運緊密交織，賦予本拍品無可比擬的歷史意義，亦是傳世唯一存於私人收藏的。
龍女轉成男身，得道成佛。在大乘佛教中，其故事被記載於《妙法蓮花經》第十二品：
「有娑竭羅龍王女，年始八歲。智慧利根，善知眾生諸根行業。得陀羅尼。諸佛所說甚深秘藏，悉能受持。深入禪定，了達諸法。於剎那頃，發菩提心。得不退轉，辯才無礙。慈念眾生，猶如赤子。功德具足，心念口演，微妙廣大，慈悲仁讓，志意和雅。能至菩提。」
佛陀的弟子舍利弗不相信女人能成佛，因此龍女續向佛陀獻上一顆珍珠，象徵她的生命與「自我」。當佛陀接過珍珠，她便轉化為已成就佛道的男身菩薩相。
The imposing standing figure of the female deity with serene expression, looking ahead with eyes downcast, the mouth picked out in red, with pendulous ears, the black hair pulled back into double-loops, wearing a headdress formed of two gilt buns connected with a
ruyi tiara, holding aloft on a presentation cloth a quatralobed offering dish supporting a pearl, wearing long flowing robes flowing to each side exquisitely incised along the hems with a foliate scrolling lotus border, the chest with a large raised
ruyi enclosing a lotus blossom below the the necklace with a rectangular pendant and neck collar, with long variously incised stippled-ground
hu shaped ribbons enclosing floral cartouches, with cloud-shaped shoes extending from underneath the robes, the back robe with further
ruyi-shaped adornments below the shoulders, with a belt above the superbly adorned lower section with further pleats finely incised with dense cloud scrolls, all raised on the double lotus pedestal, with each lower lappet incised with a lotus blossom and each upper one with upright sprays, the fourteen character mark incised in double lines atop the pedestal in front of the figure, all richly gilt.
111cm (43 11/16in) high
明崇禎 銅鎏金龍女立像
「大明崇禎辛巳年虔命御用監恭造」款
Geraldine Rockefeller Dodge (1882-1973), Giralda Farms, Madison, New Jersey
Sotheby's Parke-Bernet, The Contents of Giralda: Front the Collection of the Late Geraldine Rockefeller Dodge, Madison, New Jersey, 7-11 October 1975, lot 263
Alan Hartman (1930-2023), New York
A & J Speelman Oriental Art, London
Sze Tak Tong Collection, acquired from the above circa 1975-1978
, Published and Illustrated:
The Min Chiu Society and Hong Kong Museum of Art, Honouring Tradition and Heritage: Min Chiu Society at Sixty, Hong Kong, 2020, pp.309-311, cat. no.148
來源：
傑拉爾丁·洛克菲勒·道奇（1882年-1973年）收藏，美國新澤西州麥迪遜市吉拉爾達莊園
蘇富比Parke Bernet，《The Contents of Giralda: Front the Collection of the Late Geraldine Rockefeller Dodge》專場，新澤西州麥迪遜市，1975年10月7日至11日，拍品編號263
艾倫·哈特曼（1930年-2023年），紐約
倫敦古董商A & J Speelman Oriental Art
世德堂藏品，約1975至1978年間購於上者
展覽著錄：
敏求精舍及香港藝術館：《聚道傳承：敏求精舍六十周年》，香港，2020年，頁309至311，圖錄編號148
Ethel Geraldine Rockefeller Dodge (1882-1973) was the daughter of William Avery Rockefeller Jr. (brother of John D. Rockefeller Sr.) and Almira Geraldine (Goodsell) Rockefeller. She married in 1907 Marcellus H. Dodge Sr., president of the Remington Arms Company, bringing to the marriage US$101 million. In addition to philanthropy, she was active in animal welfare, as well as being a breeder of dogs, writing on the subject and participating as a judge in major shows. The sale of the contents of Giralda, in which the present lot was included, took five days and comprised 1804 lots.
Immeasurable Historical Importance: When the Fate of an Empire and the Emperor Intertwine
The present massive figure of Longnü, can be counted amongst the rarest vestiges of the Ming dynasty - a testament to its last days. It was cast by the Imperial Domestic Services in the Xinsi year, corresponding to 1641, three short years before the demise of the Ming dynasty by the conquering Manchurian Qing. The commissioning of the three extant figures bearing the 1641 date is therefore of immeasurable historical importance.
As attested by the fine fourteen-character inscription, it would have been an Imperial commission, for which no expense was spared, denoting its importance to the Chongzhen Emperor.
This figure is one of the only three known extant examples bearing the same inscription, with the other two including:
1. A gilt copper-alloy figure of Sudhana (Shancai Tongzi), 109.2cm high, in the collection of Columbia University Libraries, New York, published by Pengliang Lu, Recasting the Past: The Art of Chinese Bronzes 1100-1900, The Metropolitan Museum of Art, New York, no.85.
2. A gilt copper-alloy figure of Weituo, 116.8cm high, in the Capital Museum, Beijing.
The Chongzhen Emperor (1611-1644), was the 17th and last Emperor of the Ming dynasty, reigning between 1627-1644.
The Imperial Ming Court during the last days of the Tianqi Emperor was dominated by the chief eunuch Wei Zhongxian. Additionally, from the 1620s onwards, the Court had to deal with internal rebellions on the one hand, and defending the north from the Manchu tribes, on the other. The former were driven by natural events such as drought, flooding, famine and plague, which all in addition to the corruption, hastened the demise of the Ming dynasty. The Chongzhen Emperor, after his brother's death, and being enthroned as an Emperor, made great efforts to stem this decline, trying to reform the civil and military establishment, and eliminating Wei Zhongxian, Madam Ke and other officials thought to be embroiled in a conspiracy.
In what context and for what purpose was the present figure as well as the other two bearing the same inscription made? Bearing in mind that these would have been highly expensive commissions at a time when funds were short and required for military and civil use, this question is even more intriguing. The answer to this is strongly intertwined with the fate of the Ming dynasty and that of an individual, the Son of Heaven, the Chongzhen Emperor.
It has been well researched that the Chongzhen Emperor became close to Catholicism between 1632 and 1641; for a comprehensive essay see Wang Qiyuan, 'Wandering Between Bodhisattva and Jesus: The Change and Influence of Chongzhen's Belief', International Comparative Literature, vol.4, no.4, 2021, pp.699−713.
However, several personal disasters in 1640 led him to return to the old ways. In June of that year, the Emperor experienced the apparition of the 'Nine Lotus Bodhisattva'; in July of that year, his beloved son Zhu Cihuan, Prince Daoling, by the Consort Tian died. This led him in the winter of 1640 to posthumously present him with a powerful Daoist title: 'The Filial Piety Mourning Spirit King' or Xuanji Ciying Zhenjun. Subsequently, the Emperor ordered his relatives to pay homage to the monks and visit the temples in the famous Mount Putuo, the abode of Guanyin, and one of the four sacred Buddhist mountains in China. Furthermore, the Imperial Academy was reconstructed, where the Emperor held rites in honour of Confucius.
Internally, in 1641, Xiangyang in north-western Hubei Province, fell to the hands of Zhang Xianzhong, and Luoyang in western Henan Province, fell to Li Zicheng, who three years later in 1644 captured Beijing leading to the death of the Chongzhen Emperor and the fall of the Ming dynasty.
This time of natural disasters and internal and external political turmoil, was equally mirrored in a personal period of internal discord, the Son of Heaven pulled between his native Daoism and Buddhism on the one hand, and the foreign Catholicism on the other, an Empire and Emperor out of kilter - a tumulus period, clutching at the hope that a change of belief might return harmony and balance.
It is in this exceptional context, in which events in China were also reflected and influenced the personal beliefs of the Emperor as the Son of Heaven, that the magnificent figure of Longnü, as well as the other two extant figures of Sudhana and Weituo, were specially commissioned. No doubt, part of the Chongzhen Emperor's return to Daoism and Buddhism, encapsulating his personal efforts to bring harmony back to the realm and save the Ming dynasty, and himself, with one existential fate intertwined with the other, making the present figure one of immeasurable historical importance, and the only one not in a public collection.
In Mahayana Buddhism, Longnü noted in the 12th chapter of the Lotus Sutra, is described in her initial form, as follows:
"There is the daughter of the nāga king Sāgara who is only eight years old. She is wise; her faculties are sharp; and she also well knows all the faculties and deeds of sentient beings. She has attained the power of recollection. She preserves all the profound secret treasures of the Buddhas, enters deep in meditation, and is well capable of discerning all dharmas. She instantly produced the thought of enlightenment and has attained the stage of nonretrogression. She has unhindered eloquence and thinks of sentient beings with as much compassion as if they were her own children. Her virtues are perfect. Her thoughts and explanations are subtle and extensive, merciful, and compassionate. She has a harmonious mind and has attained enlightenment."
The Buddha's disciple Śāriputra does not believe that a woman can attain Buddhahood. The nāga maiden, therefore, goes on to offer a pearl to the Buddha, symbolising her life and ego. When he accepts it, she is transformed into a perfected male Bodhisattva who has attained complete enlightenment.
埃塞爾·傑拉爾丁·洛克菲勒·道奇（1882-1973）系小威廉·艾弗裡·洛克菲勒（老約翰·D·洛克菲勒之弟）與阿爾米拉·傑拉爾丁（古德塞爾）·洛克菲勒之女。1907年，她與雷明頓軍火公司總裁馬塞勒斯·H·道奇時共結連理，嫁妝達1.01億美元。除慈善事業外，她積極推廣動物福利，培育犬隻及就此著書立說，並擔任重大賽事評審。其吉拉爾達莊園的藏品拍賣會（包含本拍品）歷時五日，共釋出1804件拍品。
帝國與帝王命運的交織
這尊龍女立像體量碩大，身軀挺拔，肩胸寬厚，面容豐潤，雍容大度，妙相莊嚴；鎏金光彩熠熠，整體華麗莊嚴，盡顯皇家氣派，可謂明代珍稀遺存之一。此立像於明崇禎十四年（1641年）由御用監鑄造，距滿清入關僅三年。這尊立像及現存兩尊同年鑄造的造像，亦是見證了王朝更迭的歷史，其歷史意義無可估量。
蓮座台面上刻有十四字：大明崇禎辛已年虔命御用監恭造，清晰表明此乃宮廷敕造之物，足見崇禎帝對其之重視。目前已知帶有相同銘文的造像僅兩例：紐約哥倫比亞大學圖書館藏一件銅鎏金善財童子像（高109.2厘米），載於陸鵬亮著《Recasting the Past: The Art of Chinese Bronzes, 1100-1900》，紐約大都會藝術博物館，編號85；北京首都博物館藏一件銅鎏金韋陀像（高116.8厘米）；
崇禎帝（生卒年1611—1644年，在位1627—1644年）作為明朝末代君主，在位期間面臨宦官專權（如魏忠賢）、北方後金政權威脅與國內民變交織的困局。加上天災頻發，吏治腐敗，更速其衰亡。崇禎帝自登基後，力圖革新軍政，鏟除權奸，然終難挽狂瀾。然而為何在國庫空虛、軍費吃緊之際，君主仍耗費巨資鑄造目前流傳這三尊造像？相信與崇禎帝個人信仰的轉變及明末政局有密切關係。
有研究指出崇禎五年（1632年）至十四年（1641年）間，皇帝漸漸傾向天主教，詳見王啟元〈徘徊於菩薩與耶穌之間——崇禎宮廷信仰變遷及其影響〉，《國際比較文學》，第 4 期，2021，頁 699至713。然而，崇禎十三年（1640年），國家連遭變故，使其回歸道佛：六月，出現「九蓮菩薩」異象；七月，田貴妃所出愛子朱慈煥因病夭折，遂追封「孺孝悼靈王、玄機慈應真君」。其後更敕親眷朝禮觀音道場普陀山，重修國子監，並行祭孔大典。
崇禎十四年（1641年），張獻忠破襄陽，李自成攻克洛陽。十七年（1644年），崇禎帝在煤山自縊。在這內憂外患、天災人禍之際，貴為天子的崇禎帝亦深陷佛道傳統與天主教信仰的拉扯，企望通過信仰改變而帶來和諧局面。
在此一特殊歷史背景下，龍女、善財與韋陀這三尊造像應運而生。不僅是崇禎帝回歸道佛的見證，更承載著一位帝王試圖挽救帝國與自身命運的奮力掙扎。兩者命運緊密交織，賦予本拍品無可比擬的歷史意義，亦是傳世唯一存於私人收藏的。
龍女轉成男身，得道成佛。在大乘佛教中，其故事被記載於《妙法蓮花經》第十二品：
「有娑竭羅龍王女，年始八歲。智慧利根，善知眾生諸根行業。得陀羅尼。諸佛所說甚深秘藏，悉能受持。深入禪定，了達諸法。於剎那頃，發菩提心。得不退轉，辯才無礙。慈念眾生，猶如赤子。功德具足，心念口演，微妙廣大，慈悲仁讓，志意和雅。能至菩提。」
佛陀的弟子舍利弗不相信女人能成佛，因此龍女續向佛陀獻上一顆珍珠，象徵她的生命與「自我」。當佛陀接過珍珠，她便轉化為已成就佛道的男身菩薩相。