STATUETTE DE VAJRADHARA EN ALLIAGE DE CUIVRE DORÉ NÉPAL, DÉBUT...
STATUETTE DE VAJRADHARA EN ALLIAGE DE CUIVRE DORÉ
NÉPAL, DÉBUT DE L'ÉPOQUE MALLA, XIVE SIÈCLE
Himalayan Art Resources item no. 20418
42.5 cm (16 3/4 in.) high
A GILT COPPER ALLOY FIGURE OF VAJRADHARA
NEPAL, EARLY MALLA PERIOD, 14TH CENTURY
Published
Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 336, no. 141.
Exhibited
Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 —19 February 2017.
Provenance
Private German Collection
Christie's, New York, 22 March 2000, lot 73
The Diamond Vehicle of Nepal
Vajrayāna (the Diamond Vehicle), a practice developed during the later stages of Buddhism, sees the proliferation of deities subject to the religious school or, at times, even the monastery. In addition to a rich pantheon inherited from the Indian tradition are countless entities characterised by iconographies of varying complexity. These are evoked during rituals that are sometimes esoteric, carrying moral or philosophical significance. Although the relative importance as well as the hierarchy of these deities diverge from one religious order to another, above them is a supreme Buddha, whose essence embodies the essence of all buddhas. Depicted here is Vajradhara, who presides over the monks of the Sakya order, amongst others. With both palms crossed over the chest, he holds his two characteristic attributes, the vajra (thunderbolt-diamond) and the ghanta (bell). The shape of the vajra is reminiscent of a diamond sceptre. The purity, clarity, and indestructible nature of this gemstone demonstrate the reason it became an object of much fascination in tantric Buddhism. The deity's feet are tightly crossed, akin to a yoga pose.
The immaculate craftmanship of the jewellery adorning the figure is borrowed from stylistic forms that were initially developed in Northern India. Notably, two ascending floral peduncles surround the centre of the floret tiara sitting above the forehead. This fashion of ornamentation is characteristic of Nepalese sculptures as well as those influenced by the Newar artistic tradition from around the 13th century onwards. On the base of the tiara is a sneering kīrtimukha mask. The knotted ribbons which snake around both sides of the head maintain the tiara in place. A pair of elegant armbands is illustrated on either arm with a large floret replicating those on the tiara. The deity wears three necklaces, each of varying shape and size. The length of the second necklace ends at the pectoral region and is largely hidden from view behind the vajra and the ghanta. A scarf, reduced to the form of a simple ribbon with intricate blossom motifs, encircles the arms, and billows around both shoulders in an elegant swirl, emphasised by a pair of turquoise gems. Small floral pendants hang from the sash around his waist. At the front, a fall of pleats interwoven around the crossed ankles opens out at calf level. The slight inclination of his head to the right suggests that the deity had once been accompanied by another statue, that of his consort, the goddess Vajradhātvīśvarī.
His facial features are characteristic of Nepalese sculptures. As described in canonical texts, these youthful traits are those of an adolescent, including the "beauty folds" marking the neck. A small dimple indents the chin and the lips curve up in a slight smile. Wide arched eyebrows frame his small almond-shaped eyes. On his forehead, the ūrṇā is represented by a rectangular turquoise, accentuating the precious value of the deity.
The monumental size of the figure implies the likelihood of its veneration in a chapel. In the Kathmandu Valley, chapels are small rooms situated at the end of the courtyard in monasteries. The abundance of copper mineral along the Kathmandu Valley has for centuries fostered the development of a diversified metalcraft industry, including in the city of Patan. Despite being part of a Buddhist sub-caste, bronze artisans in Newar society accommodated the different religious and iconographic prescriptions of their clients. Their excellent craftmanship warrants the exceptional popularity and influence their works gained in Tibet or abroad–reaching Beijing from the 13th century onwards. The impeccable gilding that is achieved using an amalgam of mercury, as well as the frequent use of inlaid fine stones, gave the statues an esteemed presence. One may only imagine how they glowed beneath the scintillating luminosity of butter lamps in temples and chapels, enhancing the sanctity of these spaces.
Gilles Béguin
January 2024
銅鎏金金剛總持像
尼泊爾 馬拉王朝早期 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336，編號 141
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
德國私人珍藏
佳士得，紐約，2000年3月22日，拍品73
尼泊爾之金剛乘
金剛乘（Vajrayāna）作為佛教發展的最終階段，根據不同的宗派，有時甚至根據不同的寺廟，創造了眾多神祇。在其所繼承之印度傳統之萬神殿外，亦有諸多神祇或其他形象為後加，標識以種種複雜而多變之圖像學特徵。這些形象出現於神秘儀式之中，並承載著道德或哲學意義。儘管神祇們之相對重要性與上下傳承之位階，時而因不同宗教派別而異，然而，在他們的頂端，有一位至高無上的佛，其本質為所有佛之本質。此處所呈現之形象為金剛總持，居薩迦以及諸派之眾僧侶之上。其雙手交叉於胸前，握持兩件此神祇之象徵性法器：金剛杵與金剛鈴。前者為形似金剛石般的權杖。此寶石具純淨、閃光與不可腐蝕之特質，密宗佛教對其之熱衷之原因不言而喻。神祇的雙腿緊密交叉，猶如瑜珈姿勢。
此造像之珠寶設計細緻無瑕，借鑒自起源於印度北部之古老樣式。其華冠便引人注目，兩朵花莖向上延伸，烘托著中央盛開的優美花盤。此種裝飾風格為尼泊爾造像以及那些十三世紀以來受尼泊爾造像影響而出現之造像之標誌性特徵。寶冠下緣中央見一張齜牙咧嘴的怪獸面具，即「天福之面」。寶冠以繒帶固定，兩端盤結於頭部兩側，如風中飄揚。優雅的臂釧上見一碩大花朵，形制與寶冠中央一致。神祇配戴三串項鍊，大小不一、樣式各異。第二串項鍊長度及頸下，大部分被其手中所持鈴杵遮擋。圍巾之樣式則簡明為細帶，刻以細密相連之花紋圖案，自然纏繞雙臂，再於肘部向上翻飛，呈現出優美的弧度，突出末端所托舉的綠松石點綴。腰帶上則懸掛下一枚枚小巧的花朵墜飾。視線落至神祇身前，層層衣褶從交叉的腳踝間流出，於小腿處形成一簇扇形。神祇的頭部微微向其右傾斜，暗示著其身旁曾另有一尊其明妃金剛界自在母造像相伴。
神祇的面部體現尼泊爾造像的特徵。正如經文所描述，其面部年輕俊美，特徵正為少年人，包括環繞其脖頸的幾道細線所表示的「美麗褶皺」。下巴中央見一道淺痕，嘴角微微上揚，蘊含笑意。雙眉為大弧線，流暢舒朗，下方為小巧的杏眼。前額之白毫為一塊長方形的綠松石，烘托神祇之尊貴。
鑑於其碩大的體量，此像可能曾供奉於一座小型廟堂。在加德滿都河谷之中，這一類廟堂通常位於寺院庭院的盡頭。豐富的銅礦資源沿河谷蘊藏，數個世紀以來造就了多樣的金屬手工藝的發展，帕坦市幾包含其中。儘管屬於佛教這一次支，銅藝匠人們卻能夠滿足眾多供養人之不同宗教以及圖像要求。他們精湛非凡的技藝，造就了作品之風靡，其深遠影響遠至西藏，甚至自十三世紀起，達至北京。其無可挑剔的以水銀合金而鎏金的工藝、頻繁而熟練的寶石鑲嵌，給予其作品他們的作品壯觀而輝煌之觀感。今人則僅可遙想，這些造像如何置於寺廟與佛堂的酥油燈的閃爍光線下，熠熠生輝，莊嚴著彼時的空間。
Gilles Béguin
2024年1月
Bid on this lot
Estimate
Time, Location
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STATUETTE DE VAJRADHARA EN ALLIAGE DE CUIVRE DORÉ
NÉPAL, DÉBUT DE L'ÉPOQUE MALLA, XIVE SIÈCLE
Himalayan Art Resources item no. 20418
42.5 cm (16 3/4 in.) high
A GILT COPPER ALLOY FIGURE OF VAJRADHARA
NEPAL, EARLY MALLA PERIOD, 14TH CENTURY
Published
Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 336, no. 141.
Exhibited
Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 —19 February 2017.
Provenance
Private German Collection
Christie's, New York, 22 March 2000, lot 73
The Diamond Vehicle of Nepal
Vajrayāna (the Diamond Vehicle), a practice developed during the later stages of Buddhism, sees the proliferation of deities subject to the religious school or, at times, even the monastery. In addition to a rich pantheon inherited from the Indian tradition are countless entities characterised by iconographies of varying complexity. These are evoked during rituals that are sometimes esoteric, carrying moral or philosophical significance. Although the relative importance as well as the hierarchy of these deities diverge from one religious order to another, above them is a supreme Buddha, whose essence embodies the essence of all buddhas. Depicted here is Vajradhara, who presides over the monks of the Sakya order, amongst others. With both palms crossed over the chest, he holds his two characteristic attributes, the vajra (thunderbolt-diamond) and the ghanta (bell). The shape of the vajra is reminiscent of a diamond sceptre. The purity, clarity, and indestructible nature of this gemstone demonstrate the reason it became an object of much fascination in tantric Buddhism. The deity's feet are tightly crossed, akin to a yoga pose.
The immaculate craftmanship of the jewellery adorning the figure is borrowed from stylistic forms that were initially developed in Northern India. Notably, two ascending floral peduncles surround the centre of the floret tiara sitting above the forehead. This fashion of ornamentation is characteristic of Nepalese sculptures as well as those influenced by the Newar artistic tradition from around the 13th century onwards. On the base of the tiara is a sneering kīrtimukha mask. The knotted ribbons which snake around both sides of the head maintain the tiara in place. A pair of elegant armbands is illustrated on either arm with a large floret replicating those on the tiara. The deity wears three necklaces, each of varying shape and size. The length of the second necklace ends at the pectoral region and is largely hidden from view behind the vajra and the ghanta. A scarf, reduced to the form of a simple ribbon with intricate blossom motifs, encircles the arms, and billows around both shoulders in an elegant swirl, emphasised by a pair of turquoise gems. Small floral pendants hang from the sash around his waist. At the front, a fall of pleats interwoven around the crossed ankles opens out at calf level. The slight inclination of his head to the right suggests that the deity had once been accompanied by another statue, that of his consort, the goddess Vajradhātvīśvarī.
His facial features are characteristic of Nepalese sculptures. As described in canonical texts, these youthful traits are those of an adolescent, including the "beauty folds" marking the neck. A small dimple indents the chin and the lips curve up in a slight smile. Wide arched eyebrows frame his small almond-shaped eyes. On his forehead, the ūrṇā is represented by a rectangular turquoise, accentuating the precious value of the deity.
The monumental size of the figure implies the likelihood of its veneration in a chapel. In the Kathmandu Valley, chapels are small rooms situated at the end of the courtyard in monasteries. The abundance of copper mineral along the Kathmandu Valley has for centuries fostered the development of a diversified metalcraft industry, including in the city of Patan. Despite being part of a Buddhist sub-caste, bronze artisans in Newar society accommodated the different religious and iconographic prescriptions of their clients. Their excellent craftmanship warrants the exceptional popularity and influence their works gained in Tibet or abroad–reaching Beijing from the 13th century onwards. The impeccable gilding that is achieved using an amalgam of mercury, as well as the frequent use of inlaid fine stones, gave the statues an esteemed presence. One may only imagine how they glowed beneath the scintillating luminosity of butter lamps in temples and chapels, enhancing the sanctity of these spaces.
Gilles Béguin
January 2024
銅鎏金金剛總持像
尼泊爾 馬拉王朝早期 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336，編號 141
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
德國私人珍藏
佳士得，紐約，2000年3月22日，拍品73
尼泊爾之金剛乘
金剛乘（Vajrayāna）作為佛教發展的最終階段，根據不同的宗派，有時甚至根據不同的寺廟，創造了眾多神祇。在其所繼承之印度傳統之萬神殿外，亦有諸多神祇或其他形象為後加，標識以種種複雜而多變之圖像學特徵。這些形象出現於神秘儀式之中，並承載著道德或哲學意義。儘管神祇們之相對重要性與上下傳承之位階，時而因不同宗教派別而異，然而，在他們的頂端，有一位至高無上的佛，其本質為所有佛之本質。此處所呈現之形象為金剛總持，居薩迦以及諸派之眾僧侶之上。其雙手交叉於胸前，握持兩件此神祇之象徵性法器：金剛杵與金剛鈴。前者為形似金剛石般的權杖。此寶石具純淨、閃光與不可腐蝕之特質，密宗佛教對其之熱衷之原因不言而喻。神祇的雙腿緊密交叉，猶如瑜珈姿勢。
此造像之珠寶設計細緻無瑕，借鑒自起源於印度北部之古老樣式。其華冠便引人注目，兩朵花莖向上延伸，烘托著中央盛開的優美花盤。此種裝飾風格為尼泊爾造像以及那些十三世紀以來受尼泊爾造像影響而出現之造像之標誌性特徵。寶冠下緣中央見一張齜牙咧嘴的怪獸面具，即「天福之面」。寶冠以繒帶固定，兩端盤結於頭部兩側，如風中飄揚。優雅的臂釧上見一碩大花朵，形制與寶冠中央一致。神祇配戴三串項鍊，大小不一、樣式各異。第二串項鍊長度及頸下，大部分被其手中所持鈴杵遮擋。圍巾之樣式則簡明為細帶，刻以細密相連之花紋圖案，自然纏繞雙臂，再於肘部向上翻飛，呈現出優美的弧度，突出末端所托舉的綠松石點綴。腰帶上則懸掛下一枚枚小巧的花朵墜飾。視線落至神祇身前，層層衣褶從交叉的腳踝間流出，於小腿處形成一簇扇形。神祇的頭部微微向其右傾斜，暗示著其身旁曾另有一尊其明妃金剛界自在母造像相伴。
神祇的面部體現尼泊爾造像的特徵。正如經文所描述，其面部年輕俊美，特徵正為少年人，包括環繞其脖頸的幾道細線所表示的「美麗褶皺」。下巴中央見一道淺痕，嘴角微微上揚，蘊含笑意。雙眉為大弧線，流暢舒朗，下方為小巧的杏眼。前額之白毫為一塊長方形的綠松石，烘托神祇之尊貴。
鑑於其碩大的體量，此像可能曾供奉於一座小型廟堂。在加德滿都河谷之中，這一類廟堂通常位於寺院庭院的盡頭。豐富的銅礦資源沿河谷蘊藏，數個世紀以來造就了多樣的金屬手工藝的發展，帕坦市幾包含其中。儘管屬於佛教這一次支，銅藝匠人們卻能夠滿足眾多供養人之不同宗教以及圖像要求。他們精湛非凡的技藝，造就了作品之風靡，其深遠影響遠至西藏，甚至自十三世紀起，達至北京。其無可挑剔的以水銀合金而鎏金的工藝、頻繁而熟練的寶石鑲嵌，給予其作品他們的作品壯觀而輝煌之觀感。今人則僅可遙想，這些造像如何置於寺廟與佛堂的酥油燈的閃爍光線下，熠熠生輝，莊嚴著彼時的空間。
Gilles Béguin
2024年1月
Estimate
Time, Location
Auction House
