STATUETTE D'USHNISHAVIJAYA EN ARGENT PARTIELLEMENT DORÉ ET ALLIAGE DE CUIVRE...
STATUETTE D'USHNISHAVIJAYA EN ARGENT PARTIELLEMENT DORÉ ET ALLIAGE DE CUIVRE DORÉ
TIBET CENTRAL, VERS XVIIE SIÈCLE
Himalayan Art Resources item no. 1828
17.2 cm (6 3/4 in.) high
A PARCEL GILT SILVER AND GILT COPPER ALLOY FIGURE OF USHNISHAVIJAYA
CENTRAL TIBET, CIRCA 17TH CENTURY
Published
Amy Heller, Tibetan Art: Tracing the Development of Spiritual Ideas and Art in Tibet, 600-2000 B.C., 1999, p. 197, no. 105.
Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 350, no. 148.
Exhibited
Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 —19 February 2017.
A Spectacular Ushnishavijaya
In this superb c. 17th century sculpture from Central Tibet, the goddess Ushnishavijaya appears in her three-headed, eight-armed manifestation.1 She casts her central gaze downward to meet that of her devotees. Her right countenance is serene and similarly downward-cast. The left is fierce and powerful, with fangs exposed and eyes wide and unflinching. In Tibetan Buddhist practice, Ushnishavijaya is invoked to support long-life, purification, and enhanced well-being. Following traditional iconography for her representation, she holds the double vajra (vishvavajra) in front of her heart, an image of Amitabha Buddha in her upper right hand, the arrow, gesture of generosity (varada mudra), bow, and a gesture of protection (abhaya mudra) in the upper left hand. The left hand near her chest once held the sacred cord (pasha); the upward-turned hand in her lap a vase of immortal elixir.2
The body of the goddess is white, here beautifully represented by the silver in which she is cast. The cool metal is used to superb aesthetic effect, contrasting with the warm gold of the base, halo, and adornments and with the vibrant turquoise blue of her inset jewelry. Her faces were once painted, as is evident from the remaining traces of pigment. Traditional iconographic texts describe the central face as white, like her body, her right face as golden or yellow, and her left as red.3 The enhanced power afforded by the pigment can be seen in the fierce left face with its painted eyes. Commissions in silver, a rare and expensive material, were uncommon in Tibet. Another example is a c. 17th century Buddhist goddess in the Nyingjei Lam Collection.4 Like this example, the Nyingjei Lam eight-armed goddess has slender limbs, arranged elegantly around the torso. The lotus petals, halo, and other details in the Bonhams Ushnishavijaya are very similar to those in a c. 17th century sculpture of Ushnishavijaya in The Metropolitan Museum of Art, New York (fig. 1; 2007.75a, b). Moreover, its verso is so like that in The Metropolitan Museum Ushnishavijaya as to suggest the two sculptures share an as yet undetermined historical connection.5
More generally, the sculpture expresses elements of Nepalese taste, although it was commissioned for a Tibetan patron, evident in the choice of turquoise stones which were favored in Tibet. Features in the Speelman sculpture can also be found in works created in a famous workshop adjacent to Tashi Lhunpo monastery in Shigatse, Central Tibet. Indeed, the halo of flames surrounding Ushnishavijaya and her lotus base are very similar to those in a c. 17th century Chakrasamvara sculpture formerly in the Claude de Marteau Collection which bears an inscription confirming its connection with the Tashi Lhunpo workshop (fig. 2). The workshop, named Tashikitsel (bkra shis skyid tshal), was established during the tenure of the Fourth Panchen Lama, Lobsang Chökyi Gyaltsen (Blo bzang chos kyi rgyal mtshan, 1567-1662), very near to Tashi Lhunpo monastery. It was founded to cultivate excellence in the arts of making sculpture, painting, architecture, and textile arts and crafts. A few published sculptures bear the inscription "Tashi Lima" ( bkra shis li ma ), recently understood to be an indication that the inscribed sculptures were made in this workshop very close to Tashi Lhunpo monastery.6 A literal translation of the term Tashi lima is "Auspicious metal" but as Luo Wenhua has noted, its most specific meaning is "Tashikitsel."7
Jane Casey
January 2024
1. See Marie-Therese de Mallmann, Introduction a l'Iconographie du Tantrisme Bouddhique, Paris, 1975, pp. 389-390 for discussion of her various forms.
2. The roughly contemporaneous gilt copper alloy sculpture of Ushnishavijaya in The Metropolitan Museum of Art (fig. 1) retains a fine cord connecting the upper left hand, threading through the bow, and falling into the left central hand. The Metropolitan figure still holds the vase of elixir in the lower left hand, as one envisions was originally held in the Speelman sculpture.
3. Mallmann, 1975, pp. 389-390. See also Himalayan Art Resources set no. 5924: https://www.himalayanart.org/search/set.cfm?setID=5924.
4. Published in David Weldon and Jane Casey Singer, The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam Collection, London, 1999, pp. 124-5.
5. The Metropolitan Museum of Art website describes their Ushnishavijaya as Chinese, late 17th-18th century, but that attribution might be reconsidered in light of the Speelman sculpture under discussion.
6. Luo Wenhua, "Tashi Lhunpo Statuary: Karma and Mt Meru", Exceptional Buddhist Art from the Mark and Peter Dineley Collections, Bonhams Fine Chinese Ceramics and Works of Art, Hong Kong, 26 November 2019, lot 13, p. 22. See also David Weldon, "Tibetan Sculpture inspired by earlier foreign Sculptural Styles in The Tibet Journal, Spring & Summer 2002, vol. 27, no. 1/2: 3-36, p. 6. L.S. Dagyab, Tibetan Religious Art, Vol. 1, Weisbaden, 1977, p. 57 also wrote about the Tashi Lima inscription and its connection with Tashilhunpo monastery.
7. Luo Wenhua, 2019, p. 22.
For the figures listed in this essay, please refer to our printed or digital catalogue.
銀局部鎏金及銅鎏金尊勝佛母像
藏中 約十七世紀
著錄
Amy Heller，《Tibetan Art：Tracing the Development of Spiritual Ideas and Art in Tibet，600-2000 B.C.》，1999年，第197頁，編號105
Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha：2000 years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年，第350頁，編號148
展覽
《Buddha：2000 years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年6月24日—2017年2月19日
尊勝佛母的華貴與輝煌
此尊約十七世紀所造之非凡造像，出自西藏中部，呈現尊勝佛母以優美的三面八臂之形象。1 她中央面龐的雙眼向下凝視，迎接信徒的目光；右臉寧靜安詳，同樣慈目低垂；左臉忿怒而有力，獠牙外露，怒目圓睜。在藏傳佛教修行中，人們祈求尊勝佛母以獲得長壽、淨化、累積福報資糧。此像依其傳統圖像學形象，右側主臂當胸持十字金剛杵，右上臂手持無量光佛像，向下一手持箭，一手施與願印，至左側則見中臂持弓，左上臂施無畏印；靠近胸前的左側主臂原應緊握神聖繩索，放置腿部的手掌則應向上托持甘露寶瓶。2
女神身體為白色，此像即用銀造其主體，華美皎潔。這種冷色金屬與底座、背光和飾物之暖色鎏金，以及嵌飾珠寶的色調明快的綠松石形成鮮明對比，展現出驚艷的美學效果。其面部曾施冷金，如今仍有痕跡留存於邊緣處。傳統圖像學文本描述其中央面龐如身體一樣潔白，右面為金或黃色，左面為赤色。3 其怒目而視的左面上，鮮豔的顏料繪其雙眼，更見力量與威嚴。因銀為更為罕見且昂貴之金屬，故銀製造像於藏地並不尋常可見。另一銀像之例為菩薩道收藏中之一尊約十七世紀佛教女神造像。4 此尊菩薩道八臂女神像與本尊尊勝佛母像相似，皆肢體纖長，優雅地環繞軀幹。而尊勝佛母像之蓮花座、背光以及其他細節則與紐約大都會藝術博物館中一尊約十七世紀之尊勝佛母造像極為相似（圖1，2007.75a, b）。此外，其背面與大都會藝術博物館所藏尊勝佛母像極其接近，表明這兩尊造像間應存在某種歷史關聯，只是尚未定論。5
儘管此尊造像受一位西藏供養人委託而造——這一點自其嵌藏人所喜愛之綠松石一細節自然可見，但整體而言，造像本身展現著尼泊爾之風格。此Speelman藏品之特徵亦可於與西藏中部日喀則之扎什倫布寺相連之一間著名工坊中得見。事實上，圍繞尊勝佛母之火焰背光和蓮花座，與曾屬克勞德 ‧ 德 ‧ 馬圖珍藏之一尊約十七世紀勝樂金剛像如出一轍，其上刻有銘文，確認與扎什倫布工坊之關聯（圖2）。此工坊名為「扎西吉彩」（bkra shis skyid tshal），成立於四世班禪喇嘛洛桑卻吉堅贊（1567-1662）在任時期，毗鄰扎什倫布寺。該工坊旨在培養造像、繪畫、建築、紡織藝術與工藝技術之卓越超凡之士。幾尊見諸出版之造像刻有銘文「扎什琍瑪」（bkra shis li ma），近來被解讀為其由非常靠近扎什倫布寺的這間工坊製作。6 「扎什琍瑪」一詞直譯為「吉祥金屬」，但正如羅文華指出，其最具體含義即扎什吉彩銅造像。7
Jane Casey
2024年1月
1. 有關其各種形象的討論，請參閱Marie-Therese de Mallmann，《Introduction a l'Iconographie du Tantrisme Bouddhique》，巴黎，1975年，頁389-390。
2. 大都會藝術博物館所藏約同時期之銅鎏金尊勝佛母造像（圖1）仍保留了連接左上臂之弓、並落入左中手之繩索，而其造像的左下手仍持有甘露寶瓶，故可想象Speelman藏品尊勝佛母像原本也是如此。參見大都會藝術博物館網站：https://www.metmuseum.org/art/collection/search/73383。
3. Mallmann，《Introduction a l'Iconographie du Tantrisme Bouddhique》，1975年，頁389-390。另請參閱喜馬拉雅藝術資源網5924HAR號：https://www.himalayanart.org/search/set.cfm?setID=5924。
4. 發表在David Weldon 及 Jane Casey Singer，《The Sculptural Heritage of Tibet：Buddhist Art in the Nyingjei Lam Collection》，倫敦，1999年，頁124-125。
5. 大都會藝術博物館網站將其收藏的尊勝佛母像描述為漢地17世紀末至18世紀製造，但考慮到與此尊Speelman造像有關之討論，或需重新考量前者的歸屬。
6. 羅文華，〈扎什倫布造像 須彌福壽因緣〉，見邦瀚斯圖錄之「馬克及彼得戴尼利藏佛教藝術品 」部分，邦瀚斯，香港， 2019年11月26日，拍品13，頁22。另請參閱David Weldon，〈Tibetan Sculpture inspired by earlier foreign Sculptural Styles〉，《The Tibet Journal》，2002年春夏，卷27，期1/2，頁3-36，第6頁。L.S. Dagyab，《Tibetan Religious Art》，卷一，威斯巴登，1977年，頁57，亦論述及「扎什琍瑪」銘文及其與扎什倫布寺的關聯。
7. 羅文華，2019年，頁22。
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。
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STATUETTE D'USHNISHAVIJAYA EN ARGENT PARTIELLEMENT DORÉ ET ALLIAGE DE CUIVRE DORÉ
TIBET CENTRAL, VERS XVIIE SIÈCLE
Himalayan Art Resources item no. 1828
17.2 cm (6 3/4 in.) high
A PARCEL GILT SILVER AND GILT COPPER ALLOY FIGURE OF USHNISHAVIJAYA
CENTRAL TIBET, CIRCA 17TH CENTURY
Published
Amy Heller, Tibetan Art: Tracing the Development of Spiritual Ideas and Art in Tibet, 600-2000 B.C., 1999, p. 197, no. 105.
Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 350, no. 148.
Exhibited
Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 —19 February 2017.
A Spectacular Ushnishavijaya
In this superb c. 17th century sculpture from Central Tibet, the goddess Ushnishavijaya appears in her three-headed, eight-armed manifestation.1 She casts her central gaze downward to meet that of her devotees. Her right countenance is serene and similarly downward-cast. The left is fierce and powerful, with fangs exposed and eyes wide and unflinching. In Tibetan Buddhist practice, Ushnishavijaya is invoked to support long-life, purification, and enhanced well-being. Following traditional iconography for her representation, she holds the double vajra (vishvavajra) in front of her heart, an image of Amitabha Buddha in her upper right hand, the arrow, gesture of generosity (varada mudra), bow, and a gesture of protection (abhaya mudra) in the upper left hand. The left hand near her chest once held the sacred cord (pasha); the upward-turned hand in her lap a vase of immortal elixir.2
The body of the goddess is white, here beautifully represented by the silver in which she is cast. The cool metal is used to superb aesthetic effect, contrasting with the warm gold of the base, halo, and adornments and with the vibrant turquoise blue of her inset jewelry. Her faces were once painted, as is evident from the remaining traces of pigment. Traditional iconographic texts describe the central face as white, like her body, her right face as golden or yellow, and her left as red.3 The enhanced power afforded by the pigment can be seen in the fierce left face with its painted eyes. Commissions in silver, a rare and expensive material, were uncommon in Tibet. Another example is a c. 17th century Buddhist goddess in the Nyingjei Lam Collection.4 Like this example, the Nyingjei Lam eight-armed goddess has slender limbs, arranged elegantly around the torso. The lotus petals, halo, and other details in the Bonhams Ushnishavijaya are very similar to those in a c. 17th century sculpture of Ushnishavijaya in The Metropolitan Museum of Art, New York (fig. 1; 2007.75a, b). Moreover, its verso is so like that in The Metropolitan Museum Ushnishavijaya as to suggest the two sculptures share an as yet undetermined historical connection.5
More generally, the sculpture expresses elements of Nepalese taste, although it was commissioned for a Tibetan patron, evident in the choice of turquoise stones which were favored in Tibet. Features in the Speelman sculpture can also be found in works created in a famous workshop adjacent to Tashi Lhunpo monastery in Shigatse, Central Tibet. Indeed, the halo of flames surrounding Ushnishavijaya and her lotus base are very similar to those in a c. 17th century Chakrasamvara sculpture formerly in the Claude de Marteau Collection which bears an inscription confirming its connection with the Tashi Lhunpo workshop (fig. 2). The workshop, named Tashikitsel (bkra shis skyid tshal), was established during the tenure of the Fourth Panchen Lama, Lobsang Chökyi Gyaltsen (Blo bzang chos kyi rgyal mtshan, 1567-1662), very near to Tashi Lhunpo monastery. It was founded to cultivate excellence in the arts of making sculpture, painting, architecture, and textile arts and crafts. A few published sculptures bear the inscription "Tashi Lima" ( bkra shis li ma ), recently understood to be an indication that the inscribed sculptures were made in this workshop very close to Tashi Lhunpo monastery.6 A literal translation of the term Tashi lima is "Auspicious metal" but as Luo Wenhua has noted, its most specific meaning is "Tashikitsel."7
Jane Casey
January 2024
1. See Marie-Therese de Mallmann, Introduction a l'Iconographie du Tantrisme Bouddhique, Paris, 1975, pp. 389-390 for discussion of her various forms.
2. The roughly contemporaneous gilt copper alloy sculpture of Ushnishavijaya in The Metropolitan Museum of Art (fig. 1) retains a fine cord connecting the upper left hand, threading through the bow, and falling into the left central hand. The Metropolitan figure still holds the vase of elixir in the lower left hand, as one envisions was originally held in the Speelman sculpture.
3. Mallmann, 1975, pp. 389-390. See also Himalayan Art Resources set no. 5924: https://www.himalayanart.org/search/set.cfm?setID=5924.
4. Published in David Weldon and Jane Casey Singer, The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam Collection, London, 1999, pp. 124-5.
5. The Metropolitan Museum of Art website describes their Ushnishavijaya as Chinese, late 17th-18th century, but that attribution might be reconsidered in light of the Speelman sculpture under discussion.
6. Luo Wenhua, "Tashi Lhunpo Statuary: Karma and Mt Meru", Exceptional Buddhist Art from the Mark and Peter Dineley Collections, Bonhams Fine Chinese Ceramics and Works of Art, Hong Kong, 26 November 2019, lot 13, p. 22. See also David Weldon, "Tibetan Sculpture inspired by earlier foreign Sculptural Styles in The Tibet Journal, Spring & Summer 2002, vol. 27, no. 1/2: 3-36, p. 6. L.S. Dagyab, Tibetan Religious Art, Vol. 1, Weisbaden, 1977, p. 57 also wrote about the Tashi Lima inscription and its connection with Tashilhunpo monastery.
7. Luo Wenhua, 2019, p. 22.
For the figures listed in this essay, please refer to our printed or digital catalogue.
銀局部鎏金及銅鎏金尊勝佛母像
藏中 約十七世紀
著錄
Amy Heller，《Tibetan Art：Tracing the Development of Spiritual Ideas and Art in Tibet，600-2000 B.C.》，1999年，第197頁，編號105
Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha：2000 years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年，第350頁，編號148
展覽
《Buddha：2000 years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年6月24日—2017年2月19日
尊勝佛母的華貴與輝煌
此尊約十七世紀所造之非凡造像，出自西藏中部，呈現尊勝佛母以優美的三面八臂之形象。1 她中央面龐的雙眼向下凝視，迎接信徒的目光；右臉寧靜安詳，同樣慈目低垂；左臉忿怒而有力，獠牙外露，怒目圓睜。在藏傳佛教修行中，人們祈求尊勝佛母以獲得長壽、淨化、累積福報資糧。此像依其傳統圖像學形象，右側主臂當胸持十字金剛杵，右上臂手持無量光佛像，向下一手持箭，一手施與願印，至左側則見中臂持弓，左上臂施無畏印；靠近胸前的左側主臂原應緊握神聖繩索，放置腿部的手掌則應向上托持甘露寶瓶。2
女神身體為白色，此像即用銀造其主體，華美皎潔。這種冷色金屬與底座、背光和飾物之暖色鎏金，以及嵌飾珠寶的色調明快的綠松石形成鮮明對比，展現出驚艷的美學效果。其面部曾施冷金，如今仍有痕跡留存於邊緣處。傳統圖像學文本描述其中央面龐如身體一樣潔白，右面為金或黃色，左面為赤色。3 其怒目而視的左面上，鮮豔的顏料繪其雙眼，更見力量與威嚴。因銀為更為罕見且昂貴之金屬，故銀製造像於藏地並不尋常可見。另一銀像之例為菩薩道收藏中之一尊約十七世紀佛教女神造像。4 此尊菩薩道八臂女神像與本尊尊勝佛母像相似，皆肢體纖長，優雅地環繞軀幹。而尊勝佛母像之蓮花座、背光以及其他細節則與紐約大都會藝術博物館中一尊約十七世紀之尊勝佛母造像極為相似（圖1，2007.75a, b）。此外，其背面與大都會藝術博物館所藏尊勝佛母像極其接近，表明這兩尊造像間應存在某種歷史關聯，只是尚未定論。5
儘管此尊造像受一位西藏供養人委託而造——這一點自其嵌藏人所喜愛之綠松石一細節自然可見，但整體而言，造像本身展現著尼泊爾之風格。此Speelman藏品之特徵亦可於與西藏中部日喀則之扎什倫布寺相連之一間著名工坊中得見。事實上，圍繞尊勝佛母之火焰背光和蓮花座，與曾屬克勞德 ‧ 德 ‧ 馬圖珍藏之一尊約十七世紀勝樂金剛像如出一轍，其上刻有銘文，確認與扎什倫布工坊之關聯（圖2）。此工坊名為「扎西吉彩」（bkra shis skyid tshal），成立於四世班禪喇嘛洛桑卻吉堅贊（1567-1662）在任時期，毗鄰扎什倫布寺。該工坊旨在培養造像、繪畫、建築、紡織藝術與工藝技術之卓越超凡之士。幾尊見諸出版之造像刻有銘文「扎什琍瑪」（bkra shis li ma），近來被解讀為其由非常靠近扎什倫布寺的這間工坊製作。6 「扎什琍瑪」一詞直譯為「吉祥金屬」，但正如羅文華指出，其最具體含義即扎什吉彩銅造像。7
Jane Casey
2024年1月
1. 有關其各種形象的討論，請參閱Marie-Therese de Mallmann，《Introduction a l'Iconographie du Tantrisme Bouddhique》，巴黎，1975年，頁389-390。
2. 大都會藝術博物館所藏約同時期之銅鎏金尊勝佛母造像（圖1）仍保留了連接左上臂之弓、並落入左中手之繩索，而其造像的左下手仍持有甘露寶瓶，故可想象Speelman藏品尊勝佛母像原本也是如此。參見大都會藝術博物館網站：https://www.metmuseum.org/art/collection/search/73383。
3. Mallmann，《Introduction a l'Iconographie du Tantrisme Bouddhique》，1975年，頁389-390。另請參閱喜馬拉雅藝術資源網5924HAR號：https://www.himalayanart.org/search/set.cfm?setID=5924。
4. 發表在David Weldon 及 Jane Casey Singer，《The Sculptural Heritage of Tibet：Buddhist Art in the Nyingjei Lam Collection》，倫敦，1999年，頁124-125。
5. 大都會藝術博物館網站將其收藏的尊勝佛母像描述為漢地17世紀末至18世紀製造，但考慮到與此尊Speelman造像有關之討論，或需重新考量前者的歸屬。
6. 羅文華，〈扎什倫布造像 須彌福壽因緣〉，見邦瀚斯圖錄之「馬克及彼得戴尼利藏佛教藝術品 」部分，邦瀚斯，香港， 2019年11月26日，拍品13，頁22。另請參閱David Weldon，〈Tibetan Sculpture inspired by earlier foreign Sculptural Styles〉，《The Tibet Journal》，2002年春夏，卷27，期1/2，頁3-36，第6頁。L.S. Dagyab，《Tibetan Religious Art》，卷一，威斯巴登，1977年，頁57，亦論述及「扎什琍瑪」銘文及其與扎什倫布寺的關聯。
7. 羅文華，2019年，頁22。
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。
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