Gems of Wisdom — private Buddhist collection 慧眼 • 私人佛教藝術珍藏 by Hollywood Galleries 東寶齋 by Hollywood Galleries【東寶齋】

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Sept-Oct 2017

慧眼 · 私人佛教藝術珍藏 G e m s Of W i s d o m

Private Buddhist Art collection

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展覽地點

東寶齋香港荷李活道173號地下

時間

2017年9月28 - 10月7日

聯絡

劉惠漢何杏根劉俊揚

電話: +852 2559 8688/ 2541 6338 傳真: +852 2803 7273 電郵: hollywoodgalleries@gmail.com 網址: www.hollywood-galleries.com ISBN: 978-988-15327-9-4

venue

Hollywood Galleries 173 Hollywood Road, Sheung Wan, Hong Kong

date

contact

September 28 - October 7, 2017

Hon Lau Ellen Ho Andrew Lau

Phone: +852 2559 8688/ 2541 6338 Fax: +852 2803 7273 E-mail: hollywoodgalleries@gmail.com Website: www.hollywood-galleries.com

ISBN: 978-988-15327-9-4 2

慧眼 · 私人佛教藝術珍藏 G e m s Of W i s d o m

Private Buddhist Art collection

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Preface

It is our great honour and pleasure to present a group of seventeen minuscule Buddhist sculptures from an important private collector.

This private collector has lived in Hong Kong for 50 years. He started collecting since 1970’s, when a substantial trade of Himalayan Artifacts passed through Hong Kong to the hands of collectors in the East and the West (Taiwan, South and Southeast Asia, Europe, North America and Australia). This collector, with his gifted eyes and limited capital, has carefully selected and built up a ‘World-class’ fantastic collection of very fine quality sculptures from the Himalayan region. Being different from the “mainstream” collectors of his time, who collect mainly Chinese Art: porcelain & pottery, jade and other works of art, he has concentrated in sculptures from different parts of the Himalayan region. We can classify his collection in three major groups:

(1) Early sculptures from the Himalayan region including Kashmir, Swat Valley, Northeast India ( Pala dynasty), Nalanda, Bihar in India, Kathmandu Valley in Nepal, Western and Central Tibet.

(2) Guru portraits: four major sects of Tibetan Buddhism — Nyingma, Shakya, Kagyu and Geluk — have provided many models for the sculptors. Whether inscriptions (which help to identify the portraits) exist or not, whether the statues are big or small, the collector will choose those with fine quality, exquisite details, serene faces and those that resemble the real gurus.

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(3) Sculptures made by Zanabazar school, Mongolia: at his time, prices of sculptures made by Zanabazar school sculptors were relatively underpriced, yet their qualities were as fine as those made during Yongle and Xuande period, Ming Dynasty (most of them have reign marks, implying works manufactured at Imperial workshops). Later market development has proved that the collector’s foresight is correct and the investment a highly rewarding one.

We are deeply impressed by this private collector’s selection of sculptures, showing his unparalleled wisdom and powerful vision and his amazing foresight in building his Zanabazar sculpture collection.

The present exhibition contains seventeen gem-like sculptures selected from the collector’s home. They are small in size. Yet these artworks are rarely exposed. This collector is blissfully absorbed by all these gems that have always surrounded him. His connection with them are enhanced through sight, touch and meditation. Every single art was amassed through his passionate interest in, and love for, art and history of the Himalayan region.

We respect and admire the collector for his passion and devotion to Himalayan Art, more so, his benevolence and generosity he has always been showing to thousands of Chinese, American and Indian school children and youngsters near and afar over the years.

Lord Bless Him TASHI DELEK

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前言

我們萬分榮幸展出香港非常重要私人收藏家十七件精美小巧的藏傳佛教造像珍藏。

這位非常重要私人收藏家居港五十年。由1970年代開始收藏他鍾愛的喜瑪拉雅地區金銅佛造像藝術品。當時有頗多藏傳佛教造像由西藏，經過香港流向世界—包括亞洲的台灣、東南亞地區、歐洲、美洲和澳洲—各地的收藏家和行家中間人。這位「獨具慧眼」的重要私人收藏家，以他有限的資源，千挑萬選的建立起我們引以為傲的喜瑪拉雅藝術珍藏。他與一般收藏中國陶瓷、傢具、古玉雕、雜項為主流的香港收藏家不同，猶如大江裡的一股清流，自成一格！他收藏的藏傳佛教藝術可分為：

（1）早期印度和喜瑪拉雅地區包括西藏、尼泊爾的金銅造像：克什米爾、斯瓦特、那爛陀、東北印度帕拉風格、比哈爾邦、尼泊爾加德滿都河谷造像、西藏西部和中部等。

（2）上師造像：藏傳佛教四大主要派系—寧瑪、薩迦、噶舉和格魯—具有銘文或是缺乏銘文的上師造像，不論大小，只要造型逼真，神情生動的，有些更是栩栩如生的造像，都是挑選目標。

（3）蒙古扎那巴扎風格造像：他認為蒙古十七、十八世紀由一世哲布尊巴呼圖克圖帶領鑄造的金銅造像，工藝可纔美明朝初年「永樂、宣德」時期的金銅造像，但當時（七十、八十、九十年代）價格相對超低！其後巿場的發展，證明他極有遠見！

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我們極之欣賞這位收藏家的「慧眼」：無懈可擊的挑選、不可置疑的審美觀、先見之明的眼光！在大多數收藏中國藝術品的當時潮流，別樹一幟，收藏喜瑪拉雅地區金銅造像，更比許多外國收藏家捷足先登收藏蒙古扎那巴扎風格金銅造像，令我們讚歎！

此次展品只挑選這位香港重要私人收藏家的家中珍藏，體量細小。但是這些珍貴藏品，從未展覽曝光，一直與收藏家朝夕相處，得其鍾愛欣賞，彌足珍貴！今日得以分享欣賞，實屬難得。

這位香港非常重要私人收藏家善心無限，心繫教育，五十年來栽培無數英材，遍佈香港、中國、印度和世界各地，對社會貢獻良多。其默默耕耘精神，令人敬佩！

謹此祝福我們這位「亦師亦友」的收藏家身體健康！

天祐他如意吉祥

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རྡོ་རྗེ་རྣལ་འབྱོར་མ། སྣང་བརྙན་ཡོངས། 01

Vajravarahi 金剛瑜伽佛母 13-14th century / 十三至十四世紀

Tibet / 西藏 Pala style / 帕拉風格 gilt bronze / 鎏金銅 H 5.8 cm/公分高

Vajravarahi In Tantric lies a popular wrathful female deity that is red in color with three eyes, and a mouth with fangs. Her head and throughout her body are adorned with humans skulls and jewels. Vajravarahi’s upright dome-shaped hair is painted with red pigment. The usually seen boar head does not appear on the right side of the deity head, instead a tiny boar is grasped in her right hand, indicating she is the goddess Vajravarahi. In her left hand she holds a very Indian looking hammer pole, standing in ardhaparyanka /dancing posture with one leg stepping on a corpse. Even though the workmanship is filled with strong Indian elements and facial features, and a slight touch of Nepal Newari work, it’s safe to say this is more of an Indian style or artist made in Tibetan region. 金剛瑜伽佛母紅色全身。一個在密宗比較常見的憤怒女神，三眼，嘴有尖牙，戴人頭骨和珠寶纓絡，直立的圓頂形頭髮塗上紅色的顏料。異常地，豬首沒有出現在髮旁，而是右手托著一頭野豬的動物，表明她是女神金剛瑜伽佛母。左手拿著一個非常印度式的錘子，單腳跳舞的姿勢站立，一隻腳踏在屍體上。儘管這種做工充滿了強烈的印度元素和面部特徵，還有輕微的尼泊爾內瓦爾人觸感，所以應該是西藏地區的印度風格或印度工匠藝術。

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སྒྲོལ་མ འོད་སེར་ཅན་མ། རལ་གཅིག་མ། 02

Green Tara with Marichi and Ekajati 綠度母與積光佛母和一髻佛母 12th century / 十二世紀

Northeast India Pala Period 東北印度帕拉王朝

bronze /

銅

H 6 cm/公分高

Green Tara with Marichi and Ekajati This is an extraordinary rare Indian bronze cast sculpture formed in a set. Normally, Green Tara with Marichi and Ekajati is seen on Buddhist paintings. Other example of these deities are usually cast individually, see Mongolian Marichi from Rubin museum of art in New York, and Green Tara and Ekajati from Winter Palace Museum in Ulan Batar Mongolia. Green Tara also known as the Green Saviour, sits in ardhaparyanka/ relaxed posture, with left hand holding a blue utpala flower flanked with two blossoms. On her right side, Marichi, the Goddess of the Dawn, yellow in color, sits in maharajalilasana/ royal ease posture. On their left side, the Ekajati, the three-eyed semi-wrathful goddess, or the Black Tara, holding a skull bowl on her left hand, and a small curved knife on her right hand. They sit on a large raised blooming lotus which symbolizes purity of the body, speech, and mind, floating above attachment and desire. 綠度母與積光佛母和一髻佛母極罕見的一組佛母三尊造像，這樣的主題多數只呈現在佛畫上。在金屬造像中一般只有單獨鑄造，參見來自紐約魯賓博物館的蒙古風格的積光佛母，以及蒙古烏蘭巴托的冬宮博物館的綠度母和一髻佛母。綠度母或稱救度佛母，坐姿優美，手持蓮花，肩膀兩邊伸展。右側是積光佛母，摩利支天菩薩，黃色的顏色，自在坐姿。左側是一髻佛母又名黑度母，三眼的女神，左手握著一個骷髏碗，右手邊放著一把小曲柄刀。她們坐在一個大的上升蓮花上，象徵著身體，言語和心靈的純潔，浮離俗世牽掛和慾望。

Reference Jeff, Watt. Marichi, Himalayanart.org, May 2005, www.himalayanart.org/items/65449. Tsultem, N. 1982, The Eminent Mongolian Sculptor - G. Zanabazar. State Publishing house, UlanBator. P.72-3 Raldigma ( black Tara )

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བླ་མ། 03

Jamyang Künga 喇嘛 16th century / 十六世紀

Tibet / 西藏 Sakya Monastery / bronze / 銅

薩迦寺

H 8.2 cm/公分高

Sakya hierarch This lama is known as Jamyang Künga, who might possibly be a young portrait of Jamyang Künga Sönam Lhundrup (1571–1642). His right hand is holding a abhaya / fearlessness and granting protection mudra. While on his left, he is holding a fire jewel. He sits in vajraparyanka / lotus posture on a double lotus. There are Tibetan inscriptions written on the rim of the base. 薩迦上師從蓮花座下的銘文翻譯出薩迦Jamyang Künga上師的名字，可能就是年輕樣子的Jamyang Künga Sönam Lhundrup (1571–1642)。他的右手結無畏保護手印，左手拿著一個火寶石，蓮花姿勢坐在雙層蓮花座上。

Tibetan translation

།ས་མའི་དན་དུ།། ༄༅།། འབྱུམ་དཡངས་ཀུན་གའ་དདྲལ་ཆོག་ལ་འག་ཅ་དགན་ཧག་འཚ་ལོ

Translation In the main [monastic centre] of Sa[kya]. I prostrate to Jamyang Künga the most excellent guide (...) 翻譯

在主[寺院中心]薩迦。我拜倒於Jamyang Künga最優秀的指導之前（...）

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བླ་མ། 04

Lama 喇嘛 15th century / 十五世紀

Tibet / 西藏 gilt silver / 鎏金銀 H 4.6 cm/公分高

Gilt Silver Lama A precious silver metal figure gilded with gold. Many Tibetan statues in precious metal such as gold and silver could not survive mainly due to monetary values after being melted down. This lama sits in bhumisparsa / touching earth mudra on a downward lotus pedestal, wearing a summer monastery robe. This lama shows distinctive face with a defined glazed smile. He has black painted hair, big ears, bulging cheekbones and a crooked nose, similar to Jigten Sumgon Rinchen Pel lama(11431217) or Sakya school lama. There are no inscription visible, hence, the true identity cannot be determined. 鎏金銀喇嘛一尊珍貴的鎏金銀尊者像。金製和銀製的造像很多被溶去換取金錢，所以被保存下來的稀少。這個喇嘛結觸地手印，坐在單層蓮花座上，穿著夏天的僧袍，眼神堅定面帶微笑，頭髮塗黑漆，獨特面孔，大耳朵，高顴骨和鈎鼻子。與吉天頌恭仁欽貝（1143-1217）或薩迦喇嘛相似，但沒有銘文，所以真正的身份無法確認。

Reference Heather Stoddard, Donald Dinwiddie. Portraits of the Masters: Bronze Sculptures of the Tibetan Buddhist Lineages, 2003. pp. 192-3, no.46 Bonham’s, New York, 14 March, 2017 catalogue, lot 3236.

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སངས་རྒྱས་ཡར་བྱོན། 05

Sangye Yarjön 桑杰雅軍喜繞喇嘛 (1203-1273) 13-14th century / 十三至十四世紀

Tibet / 西藏 Kagyu sub-sect Taklung Monastery / 噶舉派分枝下達隆寺 bronze with inlaid silver and copper 銅鑲嵌紅銅和銀 H 7.8 cm/公分高

Sangye Yarjon The third abbot of the Kagyu sub-sect Taklung Monastery, who once greeted Drogön Chögyal Phagpa (1235-1280) འགྲོ་མགོན་ཆོས་རྒྱལ་འཕགས་པ་, the first Imperial Preceptor of Kublai Khan from Yuan dynasty. This lama displays an unique squared jaw line and fringe hair. He sits in bhumisparsa / touching earth mudra on a double lotus. There are silver and copper inlaid detailed patchwork on the monastery robe, his nails, and the Wheel of Dharma or dharmachakra on his left hand and right foot. The bronze has a rich buttery patina from long time worshipping and hand touching. 桑杰雅軍喜繞喇嘛噶舉分枝下達隆寺的第三任主持，曾經迎接來自元朝的第一位元朝國師的八思巴（1235-1280）འགྲོ་མགོན་ཆོས་རྒྱལ་འཕགས་པ་。獨特的方形下巴和邊緣的頭髮，結觸地手印坐在雙層蓮花座上，紅銅和銀線鑲在袈裟、指甲、左手和右腳上的法輪。銅質經長時間的崇拜和觸摸形成一個豐富的柔潤質感。

Reference Rossi & Rossi, Homage to the Holy- Portraits of Tibet’s Spiritual Teachers, 2003. pl. 24-5.

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བླ་མ། 06

“Big Hat” Lama “大帽子”喇嘛 16th century / 十六世紀

Tibet / 西藏 bronze / 黃銅 H 9.2 cm/公分高

“Big Hat” Lama An unusual proportioned yet a lovely example of a lively lama portrait. The statue has been rubbed by many years of touching and formed an almost gilded-looking patina. He is wearing a large lama hat and eyes that are widely opened. On his right hand he is holding vitarka / giving instruction mudra, and on the other hand holding a manuscript, teaching his followers from the book. “Big Hat” lama is sitting on an uncommonly large square three-layered cushion seat wearing a monastery robe which distinguish his high knowledge and achievement. “大帽子”喇嘛一個比例獨特的，但非常可愛的喇嘛肖像。這個喇嘛肖像已被信徒者拿在手上摩擦多年，並形成了一個幾乎像鎏金的表面。戴著大大的帽子，睜開眼睛，右手持教導手印，左手拿著西藏經書，從書中教導他的追隨者，身穿喇嘛袍，坐在一個大方形三層坐墊上，暗示著他高尚知識和成就。

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བླ་མ། 07

Sakya hierarch 薩迦派上師 15th century / 十五世紀

Tibet / 西藏 gilt bronze / 鎏金銅 H 9.8 cm/公分高

Sakya hierarch A lama in a highly ornate floral-decorative monastery robe and a simple pointed lama hat with a round face and slightly bulging eyes glazing to the front with a smile. His chest is exposed on one side of his chest, while hands in dhyana / meditation mudra, and sitting on an intricate downward lotus. This particular bronze statue might have treated with high temperature, sometimes from the offering or fire causing the gold gilding turned into a rather rose gold color, however it does not affect the delicately crafted chisel work done by the fine Tibetan artist. 薩迦派上師身穿精美花瓣圖紋的喇嘛袍和頭冠簡單尖帽子，圓形的臉和微凸的眼睛，微笑地向前看，袒右肩，雙手結冥想手印，坐在向下覆蓮花座上，這個特殊的銅像可能在供奉時受到高溫，或曾遇火燒而導致鎏金變成玫瑰金色，但並沒有影響其美感。

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ཛམ་བྷཱ་ལྷ། ནང་ལྷ། 08

Jambhala 黃財神 12-13th century / 十二至十三世紀

Tibet / 西藏 bronze / 黃銅 H 8.8 cm/公分高

Jambhala Jambhala is yellow in color and represents the God of wealth. As this god smiles, there is a glaze in his eyes. He holds a long extended mongoose in his left hand and precious jewels on the other while sitting on a single downward lotus in an at ease posture. Furthermore, Jambhala wears rounded earrings and a stack of five leaves royal crown adorned with jewels. An interesting thin plate casting technique was used which might suggest this work an attachment to a larger piece or an early Tibetan sutra cover. There is a chiseled double aureola with pointy pattern located behind which suggested an early Tibetan style. Some similar style of Jambhala can be seen on other miniature paintings or early Tibetan thangkas. 黃財神黃色為表徵的財神。目光炯炯，左手抓住一隻瘦長的財寶鼠，右手持寶石，坐在一個向下的蓮花座上。頭戴五葉冠，珠寶纓絡和圓形耳環。有趣的薄板鑄造技術，可能是一組合的附件。背後的環紋和三角圖案顯出早期的西藏風格。在其他小型繪畫或西藏早期藏品中可以看到類似的黃財神風格。

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མི་འཁྲུགས་པ། 09

Akshobhya Buddha 阿閦佛 12-13th century / 十二至十三世紀

Tibet / 西藏 bronze / 銅 H 7.4 cm/公分高

Akshobhya Buddha This Akshobhya Buddha and the Jambhala on the left have similar workmanship, and age. These sculptures both have resemblance hair style with stacked up high crown, round earrings, jeweled necklace, armbands, and sits in front of a pointy shaped pattern double aureola on the sides. This would be an early example of Tibetan thin casting technique and chisel work of the Akshobhya Buddha, Buddha of the Eastern Pure Land Abhirati, with very delicate fine detail. 阿閦佛與左邊的黃財神相比，似乎有類似的工藝和年份。高冠髮髻，圓形耳環，寶石項鍊和臂飾，坐在雙層光環前面，光環旁邊有尖角形狀。一個早期西藏薄鑄和鑿子工藝技術的作品，展現了一個非常細膩的不動如來佛造像, 又名不動如來佛, 掌管東方妙喜世界。

Reference Bonham’s, New York, 14 March, 2017 catalogue, lot 3093.

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བླ་མ། 10

Lama 喇嘛 12-13th century / 十二至十三世紀

Tibet / 西藏 bronze / 銅 H 10.7 cm/公分高

Winter Coat Lama The tone to this lama is a rich dark chocolate color patinated. The face has a vibrant coppery red with oval shaped eyes. Moreover, the familiar short coily hair might suggest this is a portrait of an Indian master. He was covered in heavy meditation cloak made in wool and hands holding dharmacakra /preaching or setting the Wheel of the Law mudra, as he sits in vajraparyanka / lotus posture on a double lotus. The base is crafted with short even lotus patterns and at the back with a simplified lotus style. 冬天斗篷喇嘛豐富的黑巧克力色，臉上浮現紅色的銅光，橢圓形的眼睛，短小獨有的旋型頭髮，可能這是來自印度的大師肖像。他披著沉重的羊毛斗篷，手中結轉經手印置於胸前。蓮花姿態坐在一個窄短蓮花圖案的座上，蓮花圖案在背後有簡化現像。

Reference Heather Stoddard, Donald Dinwiddie. Portraits of the Masters: Bronze Sculptures of the Tibetan Buddhist Lineages, 2003. pp. 112-3, no.15 Bonham’s, New York, 14 March, 2017 catalogue, lot 3214.

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མཆོད་རྟེན། 11

Suburgan (stupa) 菩提佛塔 17-18th century / 十七至十八世紀

Mongol / 蒙古 gilt bronze / 鎏金銅 H 13.9 cm/公分高

Suburgan (Stupa) This Suburgan is a relatively small in size but heavily gilded Mongolian stupa. It is accompanied by a small Buddha Shakyamuni in bhumisparsa / calling the earth to witness mudra in Enlightenment form seated behind a protective glass window. The Enlightenment Stupa is one of the set of eight Stupas, showing eight important events in Shakyamuni’s life as each side showing different Direction Buddha vehicle; Elephant for Akshobhya to the east, Horse for Ratnasambhava to the south, Peacock for Amitabha to the west, and Garuda for Amogasiddhi to the north. At the bottom, the stupa is sealed with a copper plate with typical gilded double-vajra pattern. 菩提佛塔一座相對較小的鎏金蒙古佛塔，在玻璃窗內中央有一尊結觸地印的釋迦牟尼佛。菩提佛塔是八座佛塔之一，代表著在釋迦牟尼佛生前的八大重要事蹟。佛塔的四面刻有四方佛的坐騎：東方阿閦佛的大象，南方寶生佛的馬，西方無量壽佛的孔雀，北方不空成就佛的大鵬金剛鳥。封底底板有鎏金十字金剛杵圖案。

Reference Rossi, Anna Maria., et al. Treasures from Mongolia: Buddhist Sculpture from the School of Zanabazar. Anna Maria Rossi, Fabio Rossi, 2004. pl.5 Beer. Robert, ‘The Encyclopedia of Tibetan Symbols and Motifs’. Shambhala, Boston, 1999. pp.134-5. plate 70: The eight great stupas

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བླ་མ། 12

Gelugpa Lama 格魯派喇嘛 18th century / 十八世紀

Tibet / 西藏 wood with polychrome pigment /

木加彩

H 9.7 cm/公分高

Gelugpa Lama The Gelugpa lama is holding dharmacakra / preaching or setting the Wheel of the Law mudra as he sits in vajraparyanka / lotus posture on a double lotus. In addition, this is a wooden sculpture, therefore part of the polychrome pigment is gone by constant touching. Primarily there are two lotus flowers next to the shoulder that are now missing. In the high attitude regions, wood is often considered precious and many material were brought to Tibet and made into art and statues. 格魯派喇嘛格魯派，又稱黃教。手中結轉經/法律手印，蓮花坐姿坐在一個窄而均勻的雙層蓮花上，木雕刻而成，部分的顏料經過不斷的觸摸而掉落。肩旁的兩朵蓮花已經不在。可用作雕刻的木材在高原地區通常是比較稀有的，許多材料是從其他地方帶到西藏，再製成雕塑藝術。

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སངས་རྒྱས་ཚེ་དཔག་མེད། 13

Amitayus 無量壽菩薩 13-14th century / 十三至十四世紀

Tibet-China / 西藏中國 Yuan Dynasty / 元朝 Stone / 黃石 H 5 cm/公分高

Amitayus A rare miniature figure of Amitayus, carved from one piece of yellow color stone, with heavy Tibetan Buddhism or XiXia influence. Usually the same iconography appears on larger sculpture, sutra cover, or painting. This miniature figure appears to be different from other Tibetan or Indian stone sculptures kept in Potala palace. Amitayus, red in color, Bodhisattva form of Amitabha, Buddha of the West. He is wearing a crown that is heavily adorned with jewels, and sits in vajraparyanka / the lotus posture on a double lotus, while holding a long life flask with dhyana / meditation mudra. An aureola shines in between the monastery throne and Amitayus. There are two peacock vehicles on either side of him. 無量壽菩薩罕見的細小無量壽菩薩雕刻，來自單一塊黃色的石頭，具有濃厚的藏傳佛教和西夏藝術影響。通常，相同的肖像出現在較大的雕塑，經文板或繪畫上。與在布達拉宮保存的其他西藏或印度石雕相比，這個似乎是不同的風格。是無量壽佛的菩薩相，身紅色，戴冠和配珠寶，用蓮花姿勢坐在的雙蓮花上，雙手結冥想手印托著長壽寶瓶。在背後，一個光環照耀在一個精美的佛廟王座前面，王座上站立著反朝的菩薩坐騎孔雀。

Reference Ulrich von Schroeder. Buddhist Sculptures in Tibet, Vol. Two: Tibet and China; p. 908, pls. 214B-C (Visual Dharma Publications, 2001). Kreijger, Hugo, et al. Tibetan Painting: the Jucker Collection. Serindia, 2001. p.42, no.7

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རང་བྱུང་རྡོ་རྗེ་ 14

Third Karmapa Rangjung Dorje 第三世噶瑪巴·讓炯多傑 (1284-1339) 15th century / 十五世紀

Tibet / 西藏 Karma Kagyu School bronze / 銅

/ 噶舉派

H 6.5 cm/公分高

The Black Hat A miniature buttery patinated lama figure, sits in typical karmapa lama’s posture, with both hands on his lap. He is wearing a monastery robe, and a black hat without a short goatee. He is the 3rd Karmapa Rangjung Dorje, abbot of Tsurphu Monastery, teacher of the Chinese Yuan emperor Toghon Temur(1320-1370). One of his reincarnations, the 5th Karmapa Dezhin Shegpa (1384-1415) was gifted the famous black hat by the Ming Chinese Yongle emperor(1360-1424). 黑帽黃油般銅質的喇嘛造像。身穿多層喇嘛僧袍，頭戴噶瑪巴專有的黑帽，是偉大的三世噶瑪巴讓炯多傑，楚布寺的住持，亦是元朝惠宗皇帝（1320-1370）的國師，被封為曉悟一切空性的噶瑪巴。其中的一個轉是第五噶瑪巴·德贊·謝戈（1384-1415）他曾被中國明朝永樂皇帝（1360-1424）贈予了著名的黑帽子。

Reference Rhie, Marylin & Thurman, Robert (1991). Wisdom and Compassion. New York: Harry N. Abrams. p.236.

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Monkey Offering Honey 猴子獻蜜糖 Tibet / 西藏 bronze / 黃銅 H 2.8 cm/公分高

Monkey offering Honey One of the Buddha’s Eight Great Events, tells a story of a devoted monkey from Vaishali in Bihar, India, offering honey to Buddha in the forest, and as a gratitude of kindness gets reborn in Trayastrimsha heaven. A lovely patinated bronze monkey with a hole on its head holding a honey pot suggests it might be a Thokcha / protective amulet. 猴子獻蜜糖八大佛陀事蹟之一,敘述一隻來自印度比哈爾邦的費沙的猴子在森林中向佛陀獻上蜂蜜的故事，然後在忉利天國重生。一隻可愛的銅猴拿著一個蜜罐，頭上有一個明顯的洞，可能是一個西藏護身符。

Anninos, Toni: Tokches – Images of Change in Early Buddhist Tibet. In: Orientations, October 1998, p. 93sqq.

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སངས་རྒྱས་ཚེ་དཔག་མེད། 16

Amitabha Buddha 無量壽佛 Western Tibet / 西部西藏 Guge style / 古格風格 tsa tsa (molded clay)/ 擦擦 (模制泥) H 9 cm/公分高

Tsa Tsa This tsa tsa is made of water, clay, dust, vegetable fibers, and sometimes with ashes of deceased high lama. A bronze mold is used in the traditional making of this particular tsa tsa. This tsa tsa appears to be made from an early Western Tibetan Guge mold, yet the accurate age of this tsa tsa is hard to determine. 擦擦由水，粘土，灰塵和植物纖維製成，有時用僧人的骨灰製成，並在銅模具上成型，以更快的方式製作佛教圖像。這個擦擦似乎是由西藏早期西藏古格風格的模式所構成，但是擦擦的準確年份難以確認。

ལྕང་སྐྱ་ཧོ་ཐོག་ཐུ། 17

Changkya Khutukhtu Lama 章嘉呼圖克圖喇嘛 (1716-1786) 18th century / 十八世紀

Tibet / 西藏 gilt bronze / 鎏金銅 H 3.5 cm/公分高

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Bibliography

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Heather Stoddard, Donald Dinwiddie. Portraits of the Masters: Bronze Sculptures of the Tibetan Buddhist Lineages, 2003. pp. 192-3, no.46. pp. 112-3, no.15

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Bonham’s, New York, 14 March, 2017 catalogue, lot 3236, lot 3093, lot 3214.

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Rossi & Rossi, Homage to the Holy- Portraits of Tibet’s Spiritual Teachers, 2003. pl. 24-5.

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Jeff, Watt. Marichi, Himalayanart.org, May 2005, www.himalayanart.org/items/65449.

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Tsultem, N. The Eminent Mongolian Sculptor - G. Zanabazar. 1982. State Publishing house, Ulan-Bator. P.72-3 Raldigma ( black Tara )

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Rossi, Anna Maria., et al. Treasures from Mongolia: Buddhist Sculpture from the School of Zanabazar. Anna Maria Rossi, Fabio Rossi, 2004. pl.5

•

Beer. Robert, ‘The Encyclopedia of Tibetan Symbols and Motifs’. Shambhala, Boston, 1999. pp.134-5. plate 70: The eight great stupas

•

Rhie, Marylin & Thurman, Robert (1991). Wisdom and Compassion. New York: Harry N. Abrams.

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p.236.

Anninos, Toni: Tokches – Images of Change in Early Buddhist Tibet. In: Orientations, October 1998, p. 93sqq.

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Published by

Photography and design ISBN Printed

Andrew Lau 978-988-15327-9-4 in Hong Kong Front cover: Picture of Vajravarahi (cat-1, p.6-7) First page: Picture of a gilt silver lama (cat-4, p.12-13)

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劉惠漢, 劉俊揚, 何杏根 Hon Lau, Andrew Lau, Ellen Ho

東寶齋由劉惠漢夫婦創立於1985年，近於香港荷李活道文武廟，專營古代佛教藝術包括塑像丶唐卡丶法器等。其中以喜馬拉雅山區地區的藏傳佛教鎏金銅像居多，除此之外也有尼泊爾丶中國丶印度丶東南亞藝術作品。他們在藝術世界的追求可以追溯到70年代已從事於藝術界生意的劉先生的父親，多年與中國及海外的私人收藏家和博物館合作，為他的下一代打好了基礎和靈感。從此家族生意的熱情不斷地延長。

Hollywood Galleries was established by Hon Lau and his wife Ellen Ho in 1985, took its base in the ancient sector

of Hollywood road near the Hong Kong Man Mo temple where many of the reputable antique shops are centered. They specialized in Buddhist sculptures, paintings and religious works of art with origins from the Himalayas, India, China, and Southeast Asia spanning from 12th to 19th century. Their major expertise is on Tibetan gilt bronze sculptures working in collaboration with private collectors and museums in China and overseas. Their legacy in the art world goes back to the 70’s with Hon’s father’s initiation which set his foundation and inspirations for the next generation. The family business has since been passionately endeavored and continuously extended.

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40 Hollywood Galleries

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Printed in Hong Kong