A SILVER INLAID GILT COPPER ALLOY FIGURE OF MANJUSHRI NEPAL...

A SILVER INLAID GILT COPPER ALLOY FIGURE OF MANJUSHRI
NEPAL OR TIBET, 14TH CENTURY
Himalayan Art Resources item no. 2807
29.3 cm (11 1/2 in.) high
銅錯銀鎏金文殊菩薩像
尼泊爾/西藏 十四世紀

From the seat of a lotus throne, Manjushri, the Bodhisattva of Wisdom, turns his palms in the gesture that signifies turning the Wheel of Dharma. As the great teacher, he bears both the sword of prajna, or knowledge, and the sutra manuscripts of Buddhist teachings blossoming on lotus flowers beside each arm. Like the lotus flower that arises from which he sits, Manjushri cuts through ignorance to reveal an enlightened landscape. His bejeweled attire signifies his noble achievements, and while his body is adorned in luxury, his contemplative face is simple and serene.

This large gilt bronze representation of the wisdom deity pays tribute to the proficiency of Newari artists and ateliers of the Kathmandu Valley. The application of heavy gilding, the cabochon of inlaid semi-precious stones, broad shoulders, and cinched waist reveal hallmarks of a classic Newari sculptural style. The square forehead, which narrows and softens at the chin, the wide eyebrows over half-closed eyelids, and the modeling of the form, weighted with volume and intricate jewelry, are all distinguishable Newari features. Although abundant in ornamentation, Manjushri retains a restraint and balance of decoration, an accomplished skill perfected during the Early Malla period of the 13th and 14th centuries in Nepal. A far smaller Malla period Manjushri shares almost identical features to this figure, including crown type, earrings, lotus flowers, necklace design, diagonal sash, belt buckle, incised patterns, and large beaded rims along the base (fig. 1; Bonhams, Paris, 26 October 2022, lot 290). Both show the application of Newari techniques of metal casting, including copper alloys underneath richly gilded surfaces fixed with inset stones present, which reached an artistic denouement during the Malla period.

Distinguishing between Kathmandu Valley works and those which Newari ateliers made for Tibetan patrons can be challenging, as these aesthetics were applied to Buddhist sculptures within Inner Asia through cultural and commercial ties between Nepal and Tibet. As the progenitors of the most sophisticated artistry in the Himalayas, Newari artists were often sought after for their skill by the religious and royal elite in Tibet. Newari artists worked in Tibet, but also Tibetans traveled to Nepal, commissioning or acquiring Nepalese works of art. Based on the near identical qualities between the present example and works made for worship within the Kathmandu Valley, this gilt Manjushri was likely cast in Nepal and exported to Tibet.

The sculpture retains elements that cater to Tibetan tastes. While Nepalese prefer translucent stones for insets, as featured in the Bonhams Paris example, Tibetans opt for turquoise, lapis lazuli, and coral, the first two of which are present in this statue. The remnants of blue pigment in the hair place attest to this sculpture's worship in Tibet, a feature absent from the Bonhams Paris example. It is also set on a high base, a convention used by Tibetans to consecrate bronzes. Newar metal casters, nevertheless, would have accommodated the various religious practices and iconographic preferences of their patrons.

The substantial size of the figure implies its veneration on an altar, likely set amidst other statuary. This Manjushri would have glowed under the low lights of butter lamps of temple shrines. Other Nepalese bronze sculptures of this scale include a 14th-century Buddha (von Schroeder, Buddhist Bronzes in Tibet, Vol. 1, 2001, p. 523, no. 170C), a 14th-century Amitayus sold at Bonhams, Hong Kong, 3 October 2017, lot 20 (fig.2), and a 14th-century Malla period Vajradhara from the Speelman collection sold at Bonhams, Paris, 11 June 2024, lot 12. As the size suggests, Manjushri, like the Buddha, Amitayus, and Vajradhara, held an esteemed place within the canon of Buddhist deities, serving as focal points of spiritual devotion.

大智文殊菩薩端坐於蓮花寶座之上，結轉法輪印。其雙肩各有一蓮花綻放，一側托般若寶劍，另一側則為經卷。如同蓮花從其所安坐之處升起，文殊菩薩斬斷無明煩惱，證悟般若空性。華服綴以珠寶，象徵文殊無上崇高。其身固然衣飾繁複，但沉思之面容卻純淨而平靜。

此尊銅鎏金造像體量碩大，呼應著加德滿都河谷紐瓦爾藝術家及其工坊的高超技藝。明亮厚重的鎏金、鑲嵌以精心雕琢的各色寶石、寬闊的肩膀與緊實的腰部皆為紐瓦爾造像之經典標誌。其前額方闊，臉頰至下巴則漸窄且柔和。菩薩雙目半閉，眉形修長，周身珠寶琳琅，營造著厚重的體積感，亦是紐瓦爾風格之顯著特徵。雖裝點富麗，此尊文殊像依然實現對於修飾之克制與平衡，爲尼泊爾十三世紀與十四世紀之馬拉王朝早期已然臻於完美的技藝。一尊同為馬拉王朝之文殊像與此像極為相似，二者寶冠、耳飾、蓮花、項鍊、斜向聖帶、腰帶扣、天衣所刻圖案以及底緣大顆連珠等等樣式如出一轍，唯造像尺寸更小（圖1；邦瀚斯，巴黎，2022年10月26日，拍品290）。二尊文殊造像皆彰顯著都紐瓦爾人對金屬鑄造技術的應用，包括於紅銅合金之上鎏金並以寶石鑲嵌的技藝，在馬拉王朝時期達致其藝術美學之巔峰。

區分加德滿都河谷造像以及紐瓦爾工坊為西藏供養人所作造像可頗具挑戰性，因其美學通過尼泊爾和西藏之間的文化與商業紐帶而流動，可見於亞洲內部多地佛教造像。作為喜馬拉雅地區最無與倫比的藝術的發揚者，紐瓦爾藝術家們時常因其精湛技藝而受到西藏僧侶以及宗室皇族的追捧。紐瓦爾藝術家於西藏境內進行創作，但藏人亦前往尼泊爾，委託製作或購入尼泊爾藝術品。基於此尊造像可與供奉於加德滿都河谷內之造像所媲美的品質，此文殊菩薩像極有可能鑄造於尼泊爾，再送至西藏。

造像保留著頗受藏人喜愛的元素。儘管尼泊爾人喜愛質地透光的寶石作為鑲嵌，如上文巴黎邦瀚斯之例所示，西藏人則更青睞綠松石、青金石以及珊瑚。此尊造像上正有綠松石及青金石交錯出現。造像頭髮上殘留的藍色顏料證實此像曾供奉於西藏，而巴黎邦瀚斯之例則無此特徵。高底座亦符合西藏造像傳統，因藏人常加以裝藏。紐瓦爾的金銅工匠們無疑可得心應手地將供養人們各異的宗教習俗及圖像偏好融入其作品之中。

該像龐大的體量意味著其原應供奉於神壇，可能置於多尊造像之中。在寺廟中神殿内酥油燈的映照之下，此尊文殊菩薩像應亦熠熠生輝。與之體量相近的尼泊爾銅像另可參考一尊十四世紀佛陀像（von Schroeder，《Buddhist Bronzes in Tibet》，卷一，2001年，頁523，編號170C），一尊曾於2017年10月3日自香港邦瀚斯拍出之十四世紀無量壽佛像（圖2；拍品20），以及2024年6月11日巴黎邦瀚斯拍出之一尊「Speelman珍藏」十四世紀馬拉王朝之金剛總持像（拍品12）。正如其尺寸所喻示，正與以上眾佛陀、無量壽佛與金剛總持一樣，文殊菩薩於佛教本尊經典中佔有崇高地位，為參悟修行之根本。

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。