STÈLE EN PIERRE NOIRE REPRÉSENTANT CHAKRASAMVARA INDE DU NORD-EST, ÉPOQUE...

STÈLE EN PIERRE NOIRE REPRÉSENTANT CHAKRASAMVARA
INDE DU NORD-EST, ÉPOQUE PALA, VERS XIIE SIÈCLE
Himalayan Art Resources item no. 1818
8 cm (3 1/8 in.) high
A BLACKSTONE STELE OF CHAKRASAMVARA
NORTHEASTERN INDIA, PALA PERIOD, CIRCA 12TH CENTURY

Published
A & J Speelman, Oriental Sculpture and Works of Art, London, 1999, pp. 60-1, no. 28.

Provenance
Private American Collection, since 1980s

This miniature stone carving depicts Chakrasamvara in union with his consort Vajrayogini. Chakrasamvara, whose name means the "Wheel of Bliss" in Sanskrit, is the meditational deity (yidam) at the heart of the Chakrasamvara Tantra–one of the most important wisdom traditions known as a 'Mother root' tantra. The goddess, Vajrayogini, embraces her consort, wrapping her leg around his waist and arm around his four faces, clutching her implements of skullcup and hooked knife. He engulfs her in an aureole of arms, his primary arms crossed around her body and holding a ghanta and vajra. The sexual embrace of these two deities (or yab yum) represents the attainment of the Highest Yoga Tantra tradition (Anuttarayoga Tantra) and Tibetan Buddhism's supreme ideal: the skilled union of perfect wisdom (Vajrayogini) and compassion (Samvara).

Such portable carvings, depicting the central figure standing on a lotus base encompassed in an arched nimbus with figures carved in the round, survive from the workshops of Pala India. Another example of the same subject is held in the Metropolitan Museum of Art (fig. 1 ; 1988.392). Numerous survive in Tibetan monastery collections, as illustrated in von Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2001, p. 385, pl. 123C-D. Their presence in Tibet, made possible through thoughtful preservation, underscores not only a reverence for these objects, but also the impact of their regional dissemination. Carvings such as the present example would have served as models for depicting tantric deities in China and Tibet.

For the figures listed in this essay, please refer to our printed or digital catalogue.

黑石勝樂金剛像
印度東北部 帕拉時期 約十二世紀

著錄
A & J Speelman，《Oriental Sculpture and Works of Art》，倫敦， 1999年， 頁60-1， 編號28

來源
美國私人珍藏，二十世紀八十年代以來

這尊精巧的小型石雕描繪勝樂金剛與其明妃金剛瑜伽母相擁起舞之雙身像。勝樂金剛梵文名意為「勝樂之輪」，為《勝樂金剛密續》之核心觀想本尊，該密續被視為最重要的智慧傳承「根本母續」之一。女神金剛瑜伽母擁抱父神，以腿纏繞其腰，雙臂環繞其四面，手握法器嘎巴拉碗與鉞刀。勝樂金剛則將其環繞於臂輪之中，主臂交抱其身，交持金剛鈴杵。兩尊神祇（或稱本尊）陰陽雙運，象徵成就無上瑜伽密續傳統及藏傳佛教至高理想：智慧（金剛瑜伽母）與慈悲（勝樂金剛）之巧妙結合。

此類便於攜帶的小型雕塑，圓雕中心人物立於蓮花座上，環繞以拱形背光，乃屬印度帕拉工坊之存世作品。紐約大都會藝術博物館亦藏有另一尊同主題造像（圖1，編號1988.392）。另有多尊此類造像現存於西藏各寺廟之收藏中，參見von Schroeder，《Buddhist Sculptures in Tibet》，香港，2001年，頁385，圖版123C-D。經過精心保存，這類雕塑作品得以傳世於西藏，顯示出人們對其之尊崇敬拜，以及其在區域間的流傳。如此黑石勝樂金剛之作，亦為隨後漢藏兩地表現此類密宗神祇提供藝術範本。

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。