The Touch of Devotion 膜拜 · 私人佛教藝術珍藏 by Hollywood Galleries 東寶齋

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May 2018

膜拜 · 私人佛教藝術珍藏 The Touch of Devotion

P r i vat e B u d d h i s t A rt c ol l e c t i on s

展覽地點

國際古玩展 香港會議展覽中心 展覽廳 5BC - D7

時間

2018年5月25 - 29日

聯絡

劉惠漢 何杏根 劉俊揚

東寶齋 電話: +852 2559 8688/ 2541 6338 傳真: +852 2803 7273 電郵: hollywoodgalleries@gmail.com 網址: www.hollywood-galleries.com

venue

International Antique Fair Hong Kong Convention and Exhibtion Center Hall 5BC-D7

date

contact

May 25 - 29, 2018

Hon Lau Ellen Ho Andrew Lau

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

ISBN: 978-988-15327-7-0

May 2018

膜拜 · 私人佛教藝術珍藏 The Touch of Devotion

P r i vat e B u d d h i s t A rt c ol l e c t i on s

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Preface

We are delighted to organize this exhibition, “The Touch of Devotion” comprising

Buddhist and Hindu sculptures and ritual objects from three distinguished collections of Buddhist art. We have collaborated closely with the owners of these collections and their passion and knowledge for their artworks has been an inspiration for us.

While researching the objects in the exhibition we encountered several with rare

iconographies that presented a challenge to identify. This time consuming process became rewarding when the object was finally identified.

The first collection comes from a respected Australian collector, a retired veterinary

surgeon who made his first purchase of Asian Art in 1969. For the next forty five years he has been a regular visitor to museums, temples, monasteries and archeological sites in India, South East Asia, China and Japan often accompanied by his wife. Earlier this year we had the pleasure of visiting them at their home on the shores of Lake Macquarie, Australia’s largest saltwater lake. We spent many hours examining and discussing the collection of Indian, Himalayan and South East Asian Art as well as his other great passion, orchids.

One of the pieces he has provided for the exhibit is the superb 15th century gilt

copper image of Chandra, the Moon God from the Malla Kingdom. Another is the extremely rare 14th century Tibetan Bronze figure of Krishna Yamari.

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The second collection is from a great friend; a widely respected dignity and an

excellent teacher. This collection represents the second joint venture with our guru after the successful October “Gems of Wisdom” exhibition of the minuscule Buddhist sculptures. We are grateful for the trust and support of this great teacher and beloved friend. Many people know him and respect him. His generous donations and philanthropy over the past few decades have helped thousands of young students and their families from China, America, and India. In this current exhibition, the rare 10th century Pala bronze image of Kala Bhairava clutching the truncated Brahma and a set of Wrathful Tara Tsakalis (initiation cards gouache on paper) from the 13th century Taklung Monastery are two of the highlights from his collection. This will be the first time the public has the chance to view them on exhibit.

The third collection in the current exhibition is represented by a magnificent 18th

century bronze statue of Vajrabhairava and Vajravetali in yab-yum form. The owner is also a good friend whom we have known for over 20 years. He has great passion and exceptional instincts when collecting art.

It is our great honor to offer and to share with our friends the beauty and charm of

these Buddhist Art collections.

May Lord Buddha grant peace, joy, and wisdom to all.

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前言

我們非常榮幸主辦這場展覽「膜拜 · 私人佛教藝術珍藏」。展品主要是佛

教和印度教的造像和法器。從分享收藏家對喜瑪拉雅藝術的熱情和瞭解他們收 藏的歷程，我們獲益良多。我們從探索和認識展品中罕見造像，所費時間和心力 都是 值 得的。

第一部份珍藏來自澳洲重要收藏家，一位退休的獸醫。他的收藏由 1969

年開始。隨後四十五年收藏家夫婦多番參觀世界各地博物館。還有造訪印度、中 國、東南亞和日本等地的寺廟和考古遺跡。2018 年初我們拜會他們在澳洲麥加湖 邊的家。我們共渡美好的時光，其間分享他們對喜瑪拉雅藝術的知識，更包括這 位收藏家對蘭花的熱愛。展品中有兩尊珍藏都極度罕見： 一尊十五世紀尼泊爾 馬拉時期銅鎏金月神；另一尊十四世紀西藏銅黑閻魔敵，在世界各地博物館都難 見到的造像。

第二部份是「慧眼 · 私人佛教藝術珍藏」的延續。2017 年 10月首次展出

「慧眼 · 私人佛教藝術珍藏」，好評如潮，深得收藏朋友歡迎。我們非常感謝這位 收藏家的繼續信任和支持。他是我們極度尊敬的師長，無數的學生受惠於他無私 的奉獻和捐助： 中國、香港、印度和歐美地區、還有貧困的非洲地區。今次展覽是 「膜拜 · 私人佛教藝術珍藏」的私人收藏第二部份： 重點有一尊非常罕有珍貴的 十世紀印度銅憤怒護法神像、一組九張十三世紀西藏忿怒度母擦卡利畫。收藏家 已珍藏了半世紀而重未曝光！

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第三位收藏家只提供一尊精彩的十八世紀西藏銅大威德金剛雙修造像，

連原庄背光和蓮座，非常罕見。這位收藏家與我們相識超越四份一世紀，是我們 對喜瑪拉雅藝術認識和成長過程中一位重要的亦師亦友的多年支持者。

今次展覽的籌備，我們要表達的感激，絕非筆墨所能形容。我們希望所

有朋友分享我們對喜瑪拉雅藝術愛好的追求和喜悅。

願諸神保佑，賜與世人和平、喜樂和智慧、吉祥如意！

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The Black Killer of Death Krishna Yamari - the Black Killer of Death, is one of the most powerful and fierce male wrathful deities. Yamari is a “Yidam” – meditational deity; there are many yidams within the Tantric Buddhist pantheon, they are often classified according to whether they appear in peaceful and wrathful form.

Krishna (black) Yamri is grouped within the three principal wrathful deities; the other two are Rakta (red) Yamri, and Vajrabhairava (terrifying).

Krishna Yamari is a rare but powerful deity.

His origin is still shrouded in mystery.

There do not appear to be many literatury sources for this rare deity.

Krishna Yamari appears on only a few existing early Tibetan thangkas, providing important references for understanding his origin. One, an extraordinary depiction of Krishna Yamari, is in the collection of the Rubin Museum of art (HAR no. 1043 as shown in below picture), a thangka painted in the 14th century. Bronze statues of this deity are especially rare. Only a few have survived over the centuries.

A large figure of this “Yidam”, with the same iconography, and a missing base was sold in Sotheby’s NYC on December 18th 1981, which was illustrated on the catalogue cover.

This bronze figure is an exquisite scuplture of Krishna Yamari. He has 3 faces, the main face would be dark blue, and the other two facing the back would be in red and white. He has six arms and four legs, standing in pratyalidha asana on a beautifully carved full double lotus base. His hands are holding a danda-human corpse, lasso and various weapons. His expression is extremely fierce with three bulging eyes, opened mouth, and protruding fangs. He wears a garland of human heads and three different skins covering his lower body — human, elephant and tiger.

黑閻魔敵 黑閻魔敵，又名黑威羅瓦金剛，是一位非 常罕見充滿力量的男性忿怒神。除了黑 閻魔之外，藏傳佛教重要憤怒神還有紅 閻魔敵和大威德金剛。這三位護法均為 文殊菩薩的忿怒化身。 美國紐約魯賓博物館珍藏十四世紀黑閻 魔敵雙修唐卡（ HAR 編號1043，下圖）。 銅像非常罕見，1981年12月18曰蘇富比 拍賣圖錄封面曾出現過一尊體型較大的 黑閻魔敵銅像（編號338）。 右圖是黑閻魔敵難得精美作品。體型雖 小，造型雄壯有力。此尊獨雄黑閻魔敵造 像有三頭、六臂和四腿。從唐卡見到三 頭的正面呈深藍色、朝向後方的面是白 色和紅色。正面三眼炯炯有神，咀露尖 牙，生動活潑。六手各持骷髏杖、套索和 不同法器。上身裸露，身戴蛇鏈和一串人 頭鏈，以戰鬥姿勢站立橢圓型雙層蓮座。 最有趣是下身披著白象皮、虎皮和人皮， 造功精細。

Krishna Yamari painting from Shelley & Donald Rubin collection HAR no. 1043 雪萊和唐納德魯賓私人 收藏黑威羅瓦金剛唐卡 HAR1043號

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གཤིན་རྗེ་གཤེད་ནག། ནག་པོ།

A rare figure of Krishna (Black) Yamari 罕見的黑閻魔敵銅像 14th century / 十四世紀 Tibet, Nyingma or Drikung Kagyu school 西藏 寧瑪派或噶舉派直貢 Copper alloy with red pigment / 銅合金、紅礦料 H 10 cm / 公分

Provenance

Sotheby’s London Nov, 1987. Lot 48.

Dr. Phillip and Patricia Adams Collection, Australia

來 源 1987年11月，蘇富比倫敦拍賣, Lot 48 菲利普和帕特里夏亞當斯 醫生夫婦收藏 Reference Jeff, Watt. Yamari, Krishna, Himalayanart.org, April 2007, www.himalayanart.org/items/1043

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འཇམ་དཔལ་དབྱངས།

Caturbhuja Manjugosha 真實名尊四臂文殊菩薩 14th century / 十四世紀 Tibet 西藏 Copper alloy with gold, silver and copper inlay / 銅合金鑲嵌金, 銀和紅銅 H 12.5 cm / 公分

manjugosha Manjugosha is the Bodhisattva of supreme wisdom, one of the oldest and most important Buddhist deities. He is often portrayed as a young prince.

He provides guidance for followers’ spiritual development, and the ability to differentiate between right and wrong.

This exceptional sculpture of Manjugosha from the 15th century is seated crosslegged on a double lotus pedestal, wearing princely garments and ornaments. He has a warm face, his eyes slightly downcast, and his mouth set in a broad smile. The four-armed god holds a sutra book representing his attainment of ultimate realization and enlightenment; a flaming sword to vanquish ignorance; and a bow and arrow in his secondary hands.

The sculpture is inlaid with three different precious metals: A gold band on the hem of his dohti, belt, sutra book and tip of the lotus petals; A copper band, on the hem of his dohti and his lips, and silver eyes enhancing the powerful gaze. Similar use of copper and silver inlay can be found in the 15th century bronze figure of Syamatara in the Rietberg museum. Both sculptures demonstrate the highest level of inlay work from the Tibetan artists in the 15th century.

文殊菩薩 真實名尊四臂文殊菩薩代 表最高智慧菩薩。他経常 以十六歲王子現身，為追隨 者在禪修路上分辨是非。 這尊十五世紀四臂文殊菩 薩（圖右）以全跏趺坐于雙 層飽滿蓮座。上兩手持劍 和經書，下兩手拿弓和箭。 上身裸露，身戴華麗珠寶。 下身穿裙，以紅銅和銅鎏 金相間裝飾，令銅像尊貴異常。雙眼鑲 銀、咀鑲紅銅，更是錦上添花。雙層蓮座 還有局部鎏金，匠心獨運。瑞士蘇黎世 Rietberg博物館的Berti Aschmann珍藏的 一尊十五世紀銅綠度母像亦鑲有銅和銀。 這兩尊銅像各展示了十五世紀西藏藝術 鑲嵌作品的高超水平。

Dotted double dorje pattern seal plate 十字金剛杵銅片底部

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Provenance

Dr. Phillip and Patricia Adams Collection, Australia

來 源 澳洲 菲利普和帕特里夏亞當斯 醫生夫婦收藏 Reference Uhlig, Helmut (1995). On the Path to Enlightenment: The Berti Aschmann Foundation of Tibetan Art at the Museum Rietberg Zurich, Switzerland. P.148-149, No.94

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ོ

Vajravārāhī 金剛亥母 14-15th century / 十四至十五世紀 Central Tibet 西藏中部 Gilt copper alloy/ 銅鎏金 H 10.4 cm / 公分

Diamond sow Vajravarahi is a wrathful form of Vajrayogini; she is one of the most popular Tantric female deities. She is specially worshipped in the Kagyu school of Tibetan Buddism. When Vajravarahi appears in the Yab-yum form with Chakrasamvara(father-mother), it symbolizes the merging of wisdom and compassion.

This finely detailed small statue of Vajravarahi shows her dancing on a human corpse on top of the lotus pedestal. She has a small sow head (varahi) emerging from the right side of her head.

Vajravarahi has three eyes, one vertically located on the forehead, between the eyebrows, also known as the eye of spiritual wisdom. She holds a chopper (karttrika) in her raised right hand, to overcome demonic obstructions. In her left hand, she holds a skull-cup (kapala) in front of her chest. She wears a long garland of human skulls, a billowing scarf, earrings, bracelets and a five-skull crown.

The statue is consecrated and the bottom is sealed with a gilded copper plate engraved with a double dorje within a circle. This statue is very similar to a group of central Tibetan 14-15th century larger gilded statues identified as having come from Densatil.

明妃 金剛亥母是金剛瑜伽母的忿怒形象，她是 藏傳佛教噶舉派最受歡迎的密宗女神之 一。她是勝樂金剛的明妃，代表智慧和慈 悲的融合。 金剛亥母造像以單腿舞姿腳踏人屍于單 層蓮座上。女神面容慈悲，頭右側長有一 豬形頭。右手高舉執鋼鉞刀，斬除一切惡 魔障礙。左手托盈血顱骨器（卡帕拉）。頭 戴五骷髏寶冠，頸掛人頭飾項鏈低垂至足 踝。珠寶滿身，華麗非凡。體態優美，婀娜 多姿。肩膀兩側飾有飄帶，越顯貴氣。 銅像以鎏金銅片封底，銅片刻有十字金剛 杵，非常珍貴。此造像極具十五世紀西藏 中部丹薩替寺廟造像風格。

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Provenance

Dr. Phillip and Patricia Adams Collection, Australia

來 源 澳洲 菲利普和帕特里夏亞當斯 醫生夫婦收藏

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གཤིན་རྗེ་གཤེད་ནག། ནག་པོ།

Jigten Sumgön 止貢巴仁欽貝 (1143-1217) 13th century / 十三世紀 Tibet, founder of the Drikung Kagyu school 西藏 止貢噶舉派創始人 Copper alloy with color pigment / 銅合金、礦彩 H 10 cm / 公分

Jigten Sumgon “The Lord of the Triple Words” This charming lama portrait can be comfortably identified as Jigten Sumgon (1143-1217), by comparison with a bronze illustrated in “Wisdom and Compassion, the sacred art of Tibet” by Marylyn Rhie and Robert Thurman, 1996, cat no. 206.

Jigten Sumgon was the chief disciple of Phakmo Drupa (Catealogue no. 07) and became one of the most influential Lamas in Tibet. He founded the Drikung Kagyu School, which was one of the eight sub-sects of the Kagyu school in Tibetan Buddhism in 1179 AD. Jigten Sumgon is best known for his wisdom and many of his Buddhist teachings. On one occasion he attracted an audience of 130,000 monks and practitioners gathered at Drikung for his teaching.

This portrait bronze depicts Jigten Sumgon in middle age with a round face, plump body and wearing an abbot’s cape. He is seated cross legged on a double lotus throne composed of wide fleshy lotus petals typical of the 13th century. The sculpture is made from a beautiful golden copper alloy, the patina enhanced by years of handling.

止貢巴仁欽貝「三言之王」

對比「慈悲與智慧：神聖的西藏藝 術」1996年，206號，這造像最有可能是 止貢巴仁欽貝。 止貢巴仁欽貝是藏傳佛教最著名喇嘛之一。 他在1179年創立了止貢噶舉派，是噶舉派 八大分支之一，曾經有多達十三萬信徒 追隨。 藏傳佛教裏上師造像佔有很重要的地位。 藝術家手藝非凡，所塑上師像造型神似， 幾可亂真。此銅像有一圓潤面容和肥胖 身軀，可能是上師中年肖像。身穿上師僧 袍，線條簡潔，坐于美麗雙層蓮座，右手 低垂結觸地印。上師造像面塗冷金。整 體銅質有黃油般包漿皮殼，代表銅像曾受 長年累月高度崇拜和觸摸。

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Provenance

Acquired from Christie’s NYC auction, Sept 2005. Lot 198.

Dr. Phillip and Patricia Adams Collection, Australia

來 源 購自2005年9月，佳士得紐約拍賣, Lot 198 澳洲 菲利普和帕特里夏亞當斯 醫生夫婦收藏 Reference Christie’s 17 Sept, 1998. NYC lot 99, Jigten Sumgon.

M Rhie and R Thurman, “Wisdom and Compassion, the sacred art of Tibet”, 1996, cat no. 206

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སངས་རྒྱས་ཡར་བྱོན།

Sangye Yarjön 桑 杰 雅 軍 喜 繞 喇 嘛 (1203-1273) 13-14th century / 十三至十四世紀 Tibet, Kagyu Taklung 西藏, 噶舉派達隆 Copper alloy with silver and copper inlay / 銅鑲嵌銀、紅銅 H 8.5 cm / 公分

Sangye Yarjon was the third abbot of Taklung 桑杰雅軍喜繞是噶舉派分枝下達隆寺第 Monastery and once greeted Drogön Chögyal 三任主持，曾經迎接元帝國國師八思巴 Phagpa (1235-1280), the first imperial preceptor （1235-1280）。 of Kublai Khan from the Yuan dynasty. 此銅像顯示上師年老的面容 和面孔瘦 This splendid portrait shows a mature lama 削、下顎有稜角。右手下垂於右膝前結觸 with a square jaw and pronounced cheekbones. 地印，坐于雙層飽滿大蓮花座上。僧袍鑲 He is seating on a double lotus pedestal, with 有紅銅和銀絲。造型簡潔流暢，銅質經過 his right hand touching the ground (Bhu- 長時間的膜拜令造像充滿柔潤質感，令人 misparsha mudra), and his left hand resting 愛不釋手！ palm upwards in his lap like Shakyamuni Buddha.

He wears an abbot’s cape. His garments are richly inlaid with silver and copper.

He has a peaceful meditative expression with eyes partly closed. His finely modeled fingers and toes, reflect the fine detail and quality of this sculpture.

Provenance

Dr. Phillip and Patricia Adams Collection, Australia

來 源 澳洲 菲利普和帕特里夏亞當斯 醫生夫婦收藏 Reference Rossi & Rossi, Homage to the Holy- Portraits of Tibet’s Spiritual Teachers, 2003. pl. 24-5.

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རང་བྱུང་རྡོ་རྗེ་

Third Karmapa Rangjung Dorje 第 三 世 噶 瑪 巴 · 讓 炯 多 傑 (1284-1339) 15th century / 十五世紀 Tibet, Karma Kagyu 西藏, 噶瑪噶舉派 Gilt copper alloy / 銅鎏金 H 12.5 cm / 公分

This statue of the 3rd Karmapa Rangjung Dorije wears the typical Black Hat of the Karmapa. He was the abbot of Tsurphu Monastery, and teacher of the Chinese Yuan emperor Toghon Temur(1320-1370).

The sculpture shows considerable wear resulting from many years of ritual touching.

He is seated on a double lotus pedestal in deep meditation with both hands resting on his knees. He has a young rounded face, and wears a abbot’s cape over Kagyu monastic garments with a nicely incised hem.

Provenance

第三世噶瑪巴讓炯多傑佩戴典型噶瑪巴 黑帽。曾任楚布寺主持，也是元朝惠宗皇 帝 (1320-1370) 的國師。 噶瑪巴雙手結觸地印盤膝結跏趺坐於雙 層蓮座，是第三世噶瑪巴典型造型。此像 表現年輕上師：面容圓潤可愛，咀含微笑。 身披斗蓬，線條流暢。大部分鎏金經過長 期的膜拜已經流失。

Dr. Phillip and Patricia Adams Collection, Australia

來 源 澳洲 菲利普和帕特里夏亞當斯 醫生夫婦收藏

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ཕག་མོ་གྲུ་པ་རྡོ་རྗེ་རྒྱལ་པོ

Phagmo Drupa Dorje Gyalpo 帕摩竹巴 (1110-1170) 14th century / 十四世紀 Tibet, Phagdru Kagyu school, Founder of Densatil Monastery 西藏, 竹巴噶舉派, 丹薩替寺創始人 Copper alloy with color pigment / 銅合金、冷金 H 14 cm / 公分

魯賓藝術博物 館帕摩竹巴唐卡 HAR no. 65461

後面的銘文： “帕摩竹巴，金剛薩埵， 對他的所有讚美/榮譽”

Pagmo drupa painting from Rubin Museum of Art. HAR no. 65461

Back inscription: “Phagmo Drupa, Vajrasattva, all praise/honor to him”

First abbot of Densatil Phagmo Drupa is identified by the inscription on the back, which says, “Phagma Drupa, Vajrasattva, all praise/ honor to him”.

Phagmo Drupa was one of the three main disciples of the Kagyu founder Gampopa (1079-1153). He founded one of the four major Kagyu schools the Phagru Kagyu, and was the first abbot and founder of Densatil Monastery.

The portrait shows an elderly lama, wearing monastic robes. This is the only recorded scuplture of Phagmo Drupa showing him not wearing his abbot cape. It is a strong image showing a confident, wise yet gentle face.

丹薩替寺主持 帕摩竹巴銅像蓮座背後有銘文 ：「帕摩 竹巴，金剛薩埵，所有讚美和榮譽都屬於 他」。 帕摩竹巴是噶舉派創始人岡波巴（10791153年）的三位主要門徒之一。他創立了 竹巴噶舉派，門徒衆多。他創建著名的丹 薩替寺院並成為該寺第一任主持。 此銅像顯示帕摩竹巴年老的模樣。左手結 觸地印坐在雙層寬大蓮花座上。此像是 唯一沒有穿著他顯著的披肩。造像簡潔有 力，表達一位自信和有智慧的上師。

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Provenance

Accquired from Acala, Bangkok, 21 Jan, 2004. Invoice no. 894

Dr. Phillip and Patricia Adams Collection, Australia

來 源 購自 曼谷 Acala, 2004年1月21日, 發票編號 894 澳洲 菲利普和帕特里夏亞當斯 醫生夫婦收藏 Reference Jeff, Watt. Pagmo drupa , Himalayanart.org, August 2005, www.himalayanart.org/items/65461

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ཀློ་བོ་མཁན་ཆེན་བསོད་ནམས་ལྷུན་གྲུབ།

Lowo Khenchen Sonam Lhundrup 洛窩堪欽 · 索郎倫 (1456-1531) 16th century / 十六世紀 Tibet, Abbot of the Mustang, Sakya school, Ngor monastery 西藏 木斯塘廟宇住持, 薩迦派, 俄爾寺 Copper alloy with silver and copper inlay / 銅合金鑲嵌銀、紅銅 H 12.2 cm / 公分

This fine statue depicts a lama seated cross-legged on top of a double lotus pedestal.

Although the sculpture has no inscription, the lama can be confidently identified as Lowo Khenchen Sonam Lhundrup. This bronze is closely related to several inscribed bronzes in the Philadelphia Museum of Art and the collection illustrated in Portraits of the Masters.

Lowo Khenchen, was born into the ruling house of Mustang, the son of king Amgon Zangpo. He was dedicated to the religious life at birth and traveled to Central Tibet several times, studying at the great Sakya and Ngor Monasteries. In later life he returned to Mustang and continued teaching there for the last decade of his life.

(Bibliography: Himalayan art resourceshimalayanart.org) This statue is a strong finely detailed sculpture. Lowo Khenchen’s beautiful life-like face with piecing eyes is enhanced by silver and copper inlay.

His right hand is in vitarka mudra (giving instruction), his left holds a flaming jewel. The stems of flowers spring from both hands, that of the right supporting a sword at the right shoulder and that from the left supporting a sutra book at the left shoulder. His robes have extensive fine engraving including flowers and clouds.

此銅像是木斯塘著名主持 洛窩堪欽.索郞倫（14561531年）。儘管雕像沒有銘 文，這位上師獨特特徵與美 國費城藝術博物館有銘文 的造像風格非常相似。 洛窩堪欽是木斯塘國王 Amgon Zangpo 皃子。他 曾多次前往西藏，在薩迦寺 和俄爾寺學習，往後十年一 直在木斯塘授徒。 （ 參考：喜 馬拉雅藝術資源 — himalayanart.org) 銅像造功精細。眼睛鑲銀和紅銅。雙手 結説教印，左手t托火焰形摩尼寶珠。兩 肩側有蓮枝托着寶劍和經書，展示其文 殊菩薩的傳承。僧袍衣緣暗刻花紋圖案。 雙膝呈跏趺，端坐于木斯塘特有 風格的 雙層蓮座。

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Provenance

Acquired in February 2007. Ex-Julian Sterling collection

Dr. Phillip and Patricia Adams Collection, Australia

來 源 購自 2007年2月，Ex-Julian Sterling 收藏 澳洲 菲利普和帕特里夏亞當斯 醫生夫婦收藏 Reference Jeff, Watt. Sonam Lhundrub, Lowo Khenchen, Himalayanart.org, March 2006, www.himalayanart.org/items/89148

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09

འབྲུག་པ་བཀའ་བརྒྱུད

Lama, possibily Drukpa Kargupa 竹巴噶舉派上師 16-17th century / 十六至十七世紀 Tibet or Bhutan, Kagyu Drukpa 西藏或不丹, 噶舉派分枝下竹巴派 Copper alloy / 銅合金 H 11 cm / 公分

This Lama can be identified as Drukpa Kargupa due to the unusual and distinctive hat. A meditation band, yogapatta, crosses his bare chest. He wears a thin outer cloak covering his shoulders and wrapped around his legs. He is seated with his hands in dhyana mudra (meditation). This statue bears a rich olive patina. It is consecrated and the bottom is sealed with a copper plate engraved with a double dorje.

Provenance

頭戴著獨特和稀有圓帽的上師銅像，可能 是竹巴噶舉派上師。身披僧袍裸露胸膛， 由右肩垂下一瑜伽師專用腰帶，與別不 同。雙手結禪定印盤膝結跏趺坐於單層大 蓮花座上。造型線條簡單優雅。底部有 暗刻十字金剛杵銅片封藏。

Dr. Phillip and Patricia Adams Collection, Australia

來 源 澳洲 菲利普和帕特里夏亞當斯 醫生夫婦收藏

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བླ་མ།

Sakya hierarch 薩迦派上師 16th century / 十六世紀 Tibet, Sakya school 西藏, 薩迦派 Copper alloy with silver Inlay / 銅合金鑲嵌銀 H 15.8 cm / 公分

This lama can be identified by his unique hat characteric of the Sakya tradition. His hands, in Dharmacakra mudra (teaching gesture), hold the stems of lotuses supporting a sword and the sutra book at his shoulders, attributes associated with Manjusri. His robes are extensively decorated with fine engravings of flowers, vines, clouds, and patch work. He has a peaceful expression.

His eyes are inlaid with silver. The sculpture is consecrated and sealed with a copper plate.

Provenance

這尊薩迦上師像頭戴典型薩迦派圓頂雙 耳僧帽，內著僧坎，外披袒右臂的藏傳袈 裟。雙手在胸前結説法印。兩肩旁有智 慧劍和經書，代表文殊菩薩的傳承。雙膝 結跏趺坐。 此銅像造功精細。眼睛鑲銀，架裟衣紋 簡練，衣緣暗刻花紋圖案，僧帽亦刻滿兔 毫紋。雙層蓮座排列有序。底部有銅片 密封。

Acquired in Cheltenham, October 2013.

Dr. Phillip and Patricia Adams Collection, Australia

來 源 購自英國切爾滕納姆，2013年10月。 澳洲 菲利普和帕特里夏亞當斯 醫生夫婦收藏

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ཤཱཀྱ་ཐུབ་པ།

Buddha shakyamuni 釋迦牟尼佛 14th century / 十四世紀 Tibet 西藏 Copper Alloy with orange pigment / 銅合金、橙礦彩 H 20.4 cm / 公分

Shakyamuni Buddha is seated cross-legged with his right hand touching the earth. This shows the moment when Buddha was meditating under the Bodhi tree, being tempted by the forces of Mara trying to distract him during his final stages of mediation before his enlightenment. Buddha remained unmoved by the temptations and moved his right hand from his lap to the ground in front of him saying, “the earth is my witness”, and finally attained his ultimate enlightenment.

The statue is beautifully modelled and finely cast. The Buddha has a powerful body and the details of his hands and splayed toes are very finely executed.

The engraving of the robe borders is especially delicate and precise, and the statue has an rich dark patina. Traces of orange pigment in the hair suggest that it might have been worshiped in Nepal.

This Buddha was probably made by a skilled Nepalese craftsman in Tibet or Nepal during the Yuan period.

悉達多坐在蓮座上結觸地 印，重映當年悉達多坐在菩 提樹下成佛的一刻。以瑪 拉為首的惡魔多番嘗試分 散悉達多的注意力，悉達多 不為所動，垂右手觸地，呼 喚大地為證，醒覺成道為佛 祖釋迦牟尼。 這尊莊嚴的釋迦像是展覽 中較大的造像之一。整體 線條優雅精緻。肩膀寛闊 飽滿強壯，手足有力。雙腳盤膝全跏趺坐。 高勾鼻子，細長耳垂，面含微笑，展現年 輕的佛陀。 佛陀身穿輕薄架裟，衣緣和下擺都暗刻精 美圖案。右肩外露。 雕像銅質呈獨特黑橄欖色，頭髮曾染橙紅 色，表示銅像曾受尼泊爾信徒崇拜。雙層 蓮座飽滿精美，蓮瓣排列緊密均勻，表示 這造像可能出自元朝技藝高超藝術家之 手，受尼泊爾和西藏當時風格影響。

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Provenance

Dr. Phillip and Patricia Adams Collection, Australia

來 源 澳洲 菲利普和帕特里夏亞當斯 醫生夫婦收藏

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A rare figure of Chandra, the Moon God 罕 見 的月神 錢 德 拉 銅 像 15 century / 十五世紀 NEPAL MALLA 尼泊爾馬拉皇朝 Gilt copper / 紅銅鎏金 H 10.4 cm / 公分

In Buddhist Cosmology, Chandra is believed to ride across the sky every night in a chariot pulled by seven male geese. In the same way Suyra, the Sun God rides across the sky every day in a chariot pulled by seven horses.

This finely made sculpture of Chandra shows him seated on a risen platform representing the chariot pulled by seven male geese. He wears an ornate five leaf crown and elaborate Bodhisattva jewelry inlaid with turquoise and garnets.

This sculpture was cast in pure copper and richly gilt.

The sweet young face and the virtuosity of the design demonstrate the high level of skill of Nepalese sculptors during the Malla period.

There is a bent copper tang beneath the sculpture indicating it was once part of a larger assembly.

Although Chandra is a very popular deity in Nepal, and was frequently depicted in paintings, bronze statues of Chandra are very rare. An example of a Chandra sculpture is in the British museum.

傳説年輕美麗的月神錢德拉，每晚都坐在 由七隻男天鵝牽引的戰車在天空飛行；白 天時日神則坐在由七匹馬拉動的戰車到 處飛行。崇拜月神讓我們從悲傷和精神 折磨中解脫過來。月神亦是生育之神。 今次展出的銅鎏金月神像是尼泊爾十 五世紀馬拉時期的佳作。頭戴鑲滿寶 石的五葉寶冠、華麗的珠寶滿身，雙手 結説教印置胸前，盤膝跏趺坐在七鵝戰 車，厚重的鎏金，單層排列有序的蓮 座，每處的細節都表現了尼泊爾馬 拉時期藝術家的高超技藝。蓮座底 下有一枝彎曲銅枝，應是連接到一 個更大的組合。 錢德拉月神在尼泊爾和 印度非常受人歡 迎，多數在繪畫出 現。銅鎏金月神像 非常罕見。我們 只在倫敦大英 博物館找到 一尊類似的月 神像。

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Provenance

Acquired from Sotheby’s auction, 01 May, 2007, Lot 31.

Estate of the Late Paul Otto Taubert

Dr. Phillip and Patricia Adams Collection, Australia

來 源 購自蘇富比拍賣行2007年05月01日拍Lot 31 保羅奧托陶伯特的遺產 澳洲 菲利普和帕特里夏亞當斯 醫生夫婦收藏

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Tara 度母 10th century / 十世紀 Nepal 尼泊爾 Gilt copper / 紅銅鎏金 H 16.5 cm / 公分

Tara is one of the most popular goddesses in Northern Buddhism, she represents compassion and is depicted as a beautiful young woman.

This early stature of Tara, shows her standing in subtle tribhanga (triple flexion). Her extensive jewelry is simply designed suggesting an early date of manufacture. She wears a single leaf crown, large earrings, necklaces, armbands, and anklets. Tara’s left hand holds the stem of a lotus; her right hand is in varadamudra (gift-giving gesture).

This beautiful copper figure of Tara has been worshipped and handled (puja) in Nepal resulting in the beautiful red brown patina showing through the gilding.

Provenance

度母是北方佛教非常重要和受人愛戴的 慈悲女神。她是一位美麗年輕的女菩薩， 是二十一度母之一。 此早期銅鎏金度母像，身穿薄衣連長裙垂 至腳，體態輕盈，細腰婀娜，穿戴華麗珠 寶，朿有珠寶點綴腰帶，耳戴特大鏤空耳 環，雙髮髻朿以一葉寶冠，度母頭後有珍 珠裝飾拱型光環，令度母看來尊貴無比。 左手持一蓮枝置左臂前，右手下垂結施願 印。左腳向前微彎展現典型三折枝體態， 站在長方形銅板上。 這尊度母像經歷信徒長期觸摸和崇拜，部 分鎏金已剝落，露出豐富銅褐色包漿，實 在難能可貴！

Christie’s London auction, July, 1974, Lot 31 Alex Bincardi collection

Dr. Phillip and Patricia Adams Collection, Australia

來 源 佳士得倫敦拍賣行1974年07月, Lot 31 Alex Bincardi 收藏 澳洲 菲利普和帕特里夏亞當斯 醫生夫婦收藏 Published

出版

Arts of Asia Magazine Jan/Feb 1975, p. 42

亞洲藝術雜誌1975年1-2月週刊, 頁42

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Jain Shrine 耆那教尊者 Circa 10th century / 約十世紀 India 印度 Copper alloy / 銅合金 H 10.5 cm / 公分

This early graceful Jain Shrine showing five Jinas (pancha-tirthika) is worn as a result of centuries of ritual worship. The Jain religion started in the 6th century BC around the same time as the Buddhist religion. The naked jinas standing on either side of the seated jina indicate that this sculpture was made for the Digambara (sky-clad) sect.

Provenance

神壇展示五位耆那教尊者（上師）。耆那 教創於公元前六世紀，教義相信：靈魂回 到基本的純浄就能達到精神的滿足。這 神壇造像雖簡單，但包漿完美，顯示了長 年累月的膜拜和供奉。

Dr. Peter Elliott collection

Dr. Phillip and Patricia Adams Collection, Australia

來 源 彼得·埃利奧特醫生收藏收藏 澳洲 菲利普和帕特里夏亞當斯 醫生夫婦收藏

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Ganesh 象鼻天 15-16th century / 十五至十六世紀 Central India 中印度 Copper alloy / 銅合金 H 11.8 cm / 公分

Ganesh is one of the most loved of the Hindu Gods. Vitually every Hindu temple has a shrine to Ganesh. He is the son of Shiva and Parvati, and he is worshipped for wealth, wisdom, the ability to overcome all obstacles, and new beginnings. Ganesh has an elephant head, four arms and pot belly. In his hands he holds a paraśu (axe), an ankuśa (elephant goad), a broken tusk and a bowl of sweets. Ganesha is attended by his vehicle the rat.

Provenance

一位廣受喜愛的印度教神，印度濕婆神和 帕爾瓦蒂的兒子，他代表了財富和智慧。 他有一頭大象頭和四隻手臂。他手裡拿 著一帕拉蘇（斧），大象棍棒，珠寶，和一 個斷掉的象牙。

Dr. Phillip and Patricia Adams Collection, Australia

來 源 澳洲 菲利普和帕特里夏亞當斯 醫生夫婦收藏

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Arthasiddhi Varahi 成義瑜伽佛母 12th century / 十二世紀 Eastern India 東印度 Copper alloy with color pigment / 銅合金、礦彩 H 16.8 cm / 公分

Reference literature Ulrich von Schroeder. Indo-Tibetan Bronzes; p. 288, pls. 72A (Visual Dharma Publications, 1981). Sadaksari. The Norton Simon Foundation, Pasadena, CA.: F.72.16.7

Arthasiddhi Varahi is a sow headed wrathful form of Vajrayogini. This is an extremely rare early depiction of the Goddess in bronze. It symbolizes her relentless power to achieve liberation and overcome obstacles.

This statue of the wrathful Varahi with a sow’s head and four arms, stands on two human corpses. Her four hands hold a skull cup (kapala), a thunderbolt (vajra), a flaying knife (triguk), and her primary left hand is in Karana mudra (expelling demons). The statue has a beautifully cast flaming halo. The throne base is finely engraved. This sculpture has a warm golden patina due to its preservation in Tibet. A more elaborate late 11th century Indian statue of Sadaksari in the Norton Simon museum has a similar style of halo and throne.

參考文獻 烏爾里希馮施羅德。 印度—西藏青銅器;頁288。72A (Visual Dharma Publications,1981).

Sadaksari. 諾頓西蒙基金會，加利福尼亞州帕薩 迪納市：F.72.16.7

成義瑜伽佛母，又名豬面空行母，非常罕 見。她代表女姓至高的超自然力量, 解放 和克服所有障礙。 此像一母豬面, 四臂，以戰鬥姿態雙腳各 踏一仰臥人屍。上右手持金剛杵，上左手 托人頭骨碗（卡帕拉）。下右主手持法刀， 下左主手結驅魔印。拱門式背光有美麗 的火焰狀光環和花朶裝飾，折角台座有陰 刻裝飾圖案，與美國加州諾頓西蒙基金會 的四臂菩薩近似, 他們的光環和寶座上 有很大的相似之處, 那是出自十一世紀後 期印度的, 可以幫助了解這尊成義瑜伽佛 母的年代。

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Provenance

Ex-Cito Cessna collection

Dr. Phillip and Patricia Adams Collection, Australia

來 源 Ex-Cito Cessna

收藏

澳洲 菲利普和帕特里夏亞當斯 醫生夫婦收藏 Reference Ulrich von Schroeder. Indo-Tibetan Bronzes; p. 288, pls. 72A (Visual Dharma Publications, 1981). Sadaksari. The Norton Simon Foundation, Pasadena, CA.: F.72.16.7 Jeff, Watt. Artasiddhi (Varahi) , Himalayanart.org, March 2003, www.himalayanart.org/ items/79088

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Water Pot with Snake Goddess Manasa, husband Jaratkuru and son Astika 瑪那莎女蛇神祭品聖水瓶 11th century / 十一世紀 Indian, Pala period 印度，帕拉皇朝 Copper alloy / 銅合金 H 16.5 cm / 公分

This early example of a ritual water pot depicts the Goddess Manasa worshipped for her ability to protect from snake bites and infectious diseases in Northeast India.

These water pots were used for holding holy water during religious ceremonies.

This water pot was made during the Indian Pala period.

帕拉時期的瑪那莎女蛇神聖水瓶在私人 收藏不常見。信衆崇拜瑪那莎女神祈求避 免蛇咬和其他傳染病的侵襲。 瑪那莎女神坐在水瓶上部中央， 她丈夫Jaratkuru坐在右邊，兒子 Astika坐在左邊。兒子Astika下 面刻有已難辨認的銘文兩行。 美國紐瓦克博物舘、華盛頓史 密森學會和紐約大都會博物館 還可見到相似寶瓶。

Manasa is seated above the spout which is in the form of a snake head.

On her right sits her husband Jaratkuru, and on her left her son Astika.

Two lines of inscription 下面刻有的兩行銘文

Tiny traces of gilding remain on the vessel.

Two lines of inscription are now illegible due to surface corrosion resulting from centuries of burial.

Examples of this type of water pot are found in the Nalin collection at the Newark Museum, the Smithsonian Institution in Washington D.C., and Eilenberg collection at the Metropolitan Museum, New York.

Provenance

Dr. Phillip and Patricia Adams Collection, Australia

來 源 澳洲 菲利普和帕特里夏亞當斯 醫生夫婦收藏

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ཤཱཀྱ་ཐུབ་པ།

Buddha shakyamuni 釋迦牟尼佛 13-14th century / 十三至十四世紀 Nepal Kasa malla 尼泊爾 迦舍末羅王國 Gilt copper / 紅銅鎏金 H 20.3 cm / 公分

The Buddha is shown seated cross-legged on a tall double lotus throne. This sculpture is heavily cast in copper and gilt. It shows many features typical of those cast in the Kasa Malla kingdom which stretched between the Western Nepal and Western Tibet. These include the double lines incised on the backs on the fingers, the rice pattern design on the hems of his garments, and the unfinished back.

Provenance

迦舍末羅王國時期釋迦牟尼鎏金銅像。 特徵明顯：手指有刻橫線紋、佛像背部粗 曠和架裟衣緣暗刻米型圖案等。 佛造像身體強而有力、肩膀寛闊。銅身厚 重，鎏金豐厚，但經信徒長年累月的膜拜, 部分已經消失。

Dr. Phillip and Patricia Adams Collection, Australia

來 源 澳洲 菲利普和帕特里夏亞當斯 醫生夫婦收藏

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Green Tara 綠度母 15th century / 十五世紀 Tibet 西藏 Gilt copper alloy / 銅鎏金 H 16 cm / 公分

This is a sensitively modelled sculpture of Green Tara, one of the most popular deities in Tibetan Buddhism.

Green Tara is called the ”Mother of All Buddhas” signifying Enlightened Wisdom. The sculpture is finely cast in bronze, richly gilded and sealed with gilded copper plate incised with a double vajra.

Provenance

這是一尊感性的綠度母造像。藏 傳佛教二十一度母中，綠度 母是最受信奉者追隨的度 母之一。亦被稱爲’萬佛之 母‘，代表她是醒覺的智慧 菩薩。造像以銅鑄成，鎏金 厚重，原封底片刻有十字金 剛杵。

Acquired from Christie’s auction, NYC 19 Sept, 2001, Lot 109

Dr. Phillip and Patricia Adams Collection, Australia

來 源 購自佳士得紐約拍賣, 2001年09月19日拍Lot 109 澳洲 菲利普和帕特里夏亞當斯 醫生夫婦收藏

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རྡོ་རྗེ་འཆང།

Vajradhara 金剛總持 14th century / 十四世紀 Kasa MALLA 尼泊爾 迦舍末羅王國 Gilt copper / 紅銅鎏金 H 14.8 cm / 公分

This charming Vajradhara is seated crosslegged on a double lotus throne with his hands crossed in front of his chest holding his characteristic attributes the vajra and the ghanta. He wears elaborate Bodhisattva ornaments, a Nepalese ritual helmet, and a dhoti engraved with a floral pattern. The richly gilded sculpture is heavily cast, and is sealed with a now disturbed copper plate engraved with a double dorje.

Provenance

精美的大持金剛,雙手施金剛吽迦羅印， 左手持鈴，右手持杵，雙手交叉置於胸前。 身掛菩薩珠寶，頭戴尼泊爾寶冠。此造像 顯示迦舍末羅王朝風格和特徴：整體厚 重、鎏金飽滿、蓮座背部有獨特紅漆。

Dr. Phillip and Patricia Adams Collection, Australia

來 源 澳洲 菲利普和帕特里夏亞當斯 醫生夫婦收藏

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རྗེ་བཙུན་མི་ལ་རས་པ

Milarepa 密 勒 日 巴 (1052-1135) 16th century / 十六世紀 Tibet, Kagyu 西藏, 噶舉派 Copper alloy / 銅合金 H 11.5 cm / 公分

Milarepa was one of the most famous Tibetan yogis and poets, a student of Marpa (1012–1097). With the use of “black magic”, Milarepa caused a huge destruction and massive death to his own people. Milarepa suffered a great deal from his action.

He rose above the miseries, with the help of his teacher, Marpa Lotsawa, Milarepa took to a solitary life of meditation until he had achieved the enlightened.

Milarepa is depicted in his signature posture, with his right hand raised to his ear in a listening gesture, symbolizes his way of teaching the Buddhist wisdom through songs. His left hand holds skull cup as a symbol of transient nature of existence.

Provenance

密勒日巴是西藏 非常重要的修行者和 詩人之一，亦是著名翻譯師瑪爾巴（10121097年）的學生。密勒日巴曾經歷過仇恨 和悲傷，用他的黑暗魔法造成了毀滅和大 部分族人的死亡。在老師瑪爾巴的指導 下，最終找到了和平與憐憫的心,並在他 一生中得道成佛。 此銅像顯示密勒日巴最重要的坐姿，右手 舉至耳邊聽著大自然的呼喚並且唱歌，坐 姿舒泰，身穿薄衣，面露慈悲。左手托一 頭骨碗，代表人生短暫。

Dr. Peter Elliott collection

Dr. Phillip and Patricia Adams Collection, Australia

來 源 彼得·埃利奧特醫生收藏 澳洲 菲利普和帕特里夏亞當斯 醫生夫婦收藏

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རྡོ་རྗེ་འཆང།

Reliquary in the shape of a chorten 供品用舍利子佛塔 22

རྡོ་རྗེ་འཆང།

Circa 17th century / 約十七世紀 Nepal

Stupa 佛塔

尼泊爾 Bell Metal / 鈴銅

17-18th century / 十七至十八世紀

H 16.8 cm / 公分

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རྡོ་རྗེ་འཆང།

Stupa-shaped offering container 佛塔形供品容器 16-17th century / 十六至十七世紀

China-Tibet

Tibet

中國西藏

西藏

Stone / 石

Brass / 黃銅

H 8.8 cm / 公分

H 13.5 cm / 公分

Provenance

Marie-Francoise Fatton

Proprietor of Au Lion Des Neiges in 1987-88 Dr. Phillip and Patricia Adams Collection, Australia

來 源 Marie-Francoise Fatton Au Lion Des Neiges 1987-88 年的收藏 澳洲 菲利普和帕特里夏亞當斯 醫生夫婦收藏

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མི་འཁྲུགས་པ།

Tathagata Buddha Akshobhya 東方如來阿閦佛 14th century / 十四世紀 Tibet / 西藏 Copper alloy with copper inlay / 銅鑲嵌紅銅 H 25.3 cm / 公分

Akshobhya is one of the Five Tathāgatas or dhyani Buddhas (pañcatathāgata) and symbolizes mirrorlike wisdom. Like all the five dhyani Buddhas, he wears a tall crown, Bodhisattva ornaments inlaid with copper and inset with turquoise stones. He is surrounded by a billowing scarf and ribbons flutter from above his ears. The high chignon reflects the influence of Pala India. The yellow copper alloy has a beautiful golden appearance.

Provenance

藍身的阿閦佛，五方佛之東方如來。他身 戴珠寶和寶冠，上身赤裸，下身穿裙鑲紅 銅, 髮束高髻表現印度早期的影響。

Acquired from Galerie Koller auction, Zurich 03 Dec, 1999, Lot 2.

Dr. Phillip and Patricia Adams Collection, Australia

來 源 購自蘇黎世 Galerie Koller 拍賣, 1999年12月3日 拍品號2 澳洲 菲利普和帕特里夏亞當斯 醫生夫婦收藏

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A rare set of 9 Wrathful Tara Tsakali (Initiation card) 罕見的一套九張忿怒相度母擦卡利 13th century / 十三世紀 Tibet, Kagyu sub-sect Taklung Monastery 西藏, 噶舉派分枝下達隆寺 Gold foil and red pigment and ink on paper / 紙、黃金和紅色顏料 10 x 7.8 cm / 公分

Tara­— “Peaceful by day, Wrathful by night” These are nine miniature paintings depicting rare image of “Vajrapani-like” Tara with her outstretched right hand brandishing a vajra and her left hand in tarjani warning mudra, standing in pratyalidha pose. In this form, she is a protector, and she uses her energy to cut through the truth. Color pigments in red and gold were employed. The nine paintings belong to the same set of Tsakali cards which are initiation cards used by practitioner or lama to evoke a specific Buddhist deity. Long lines of inscriptions in red ink were written on the back of the Tsakali cards.

There are three similar miniature paintings at the Minneapolis Institute of Art, Minneapolis, Minnesota and another three at the Newark Museum in New Jersey. The former museum owns the paintings of Lama Tsangpa Tashi Pal (1142-1210) founder of the Taklung Kagyu lineage; Palden Lhamo deity and Buddha Bhaisayaguru. And the latter, the Newark Museum owns the tsakali with images: Akshobhya Buddha,Tara and Sangye Yarjon lama (1207-1273).

All the above images from the two sources share the same style of drawings, colour pigments and inscriptions on the reverse. Other similarities include the unique 3-leafed diadem with triangular foliage design;large circular earrings; double looped bracelets and the downward lotus pedestals.

Amy Heller’s article “A set of Thirteeth Century Tsakali” suggested that the three Tsakalis in Newark Museum were part of a larger set commissioned to the Kagyu Taklung Monastery by a special patron in the 13th century. This set of ritual images was believed to be used in an initiation ceremony at the Taklung Monastery in Lhasa, Tibet.

度母 — “白晝慈悲，夜間忿怒“

這九幅細型繪畫描繪了手拿金剛 杵忿怒相度母，她伸出的右手揮舞 著金剛杵，左手結警戒印, 雙腳以 戰鬥姿勢站立在大蓮花座上。用 紅色顏料和黃金畫成。這九幅擦 卡利同屬一套，是修煉者或喇嘛用 來喚起特定佛教神靈而用的。在 每張擦卡利的背面寫有長長的紅墨水銘文。 分別在明尼阿波利斯藝術博物和新澤西州的 紐瓦克博物館各有三幅相似的擦卡利。前者 有達隆噶舉血統的創始人唐巴扎西帕爾（11421210）、吉祥天母、和藥師佛。而後者，紐瓦克 博物館擁有帶有圖像的阿卡比亞：塔拉，阿克 修比亞佛像和桑耶亞爾貢（1207-1273）。來自 兩個來源的所有上述圖像共有相同風格的圖 畫，彩色顏料和銘文。其他相似之處包括獨特 的三葉王冠，三角形葉片設計;大圓形耳環;雙 環手鐲和向下蓮花座。 西藏藝術學者艾米海勒的文章“一套十三世紀 擦卡利”建議在紐瓦克博物館的三張擦卡利是 十三世紀一位特別讚助人委託給噶舉達隆寺 而繪畫的的一部分。擦卡利背後銘文詳細重 要地記錄了日期和出處。這套儀式卡被認為是 在西藏拉薩的塔隆寺喇嘛們用來為寺廟施法 中使用的。

After Heller, Amy, ‘A Set of Thirteenth Century Tsakali’ in Orientations November 1997, p. 48-49, 13th century Akshobhya Tsakali, collection of the Newark Museum. (紐瓦克博物館收藏)

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Provenance

Edward O’Neill Collection from the 1970s and 80s

來 源 Edward O’Neill 七十至八十年代收藏 Reference After Heller, Amy, ‘A Set of Thirteenth Century Tsakali’ in Orientations November 1997, p. 48-49.

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Vajravarahi 金剛瑜伽佛母 13-14th century / 十三至十四世紀 Tibet 西藏 Copper alloy / 銅合金 H 7.4 cm / 公分

Provenance

Edward O’Neill Collection

from the 1970s and 80s

來 源 Edward O’Neill 七十至八十年代收藏

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གནས་བརྟན།

Arhat 羅漢 16th century / 十六世紀 Tibet 西藏 Copper alloy / 銅合金 H 5.5 cm / 公分

Provenance

Edward O’Neill Collection

from the 1970s and 80s

來 源 Edward O’Neill 七十至八十年代收藏

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མཆོད་རྟེན་

Two Small Stupas 兩個小舍利佛塔 14th century / 十四世紀 Nepal 尼泊爾 Gilt copper / 紅銅鎏金 H 10.2 & 5.3 cm / 公分

The two gilt copper stupas (chaityas) are relatively small but refined. They are portable ritual objects used by travelling religious practitioners for personal worship.

Tiny stupas are scarce, often subject to loss or damage. Both stupas have beautiful form and style. Each is sealed with a copper plate incised with a gilt double vajra. The form and details on the two stupas suggested both coming from the same workshop.

Provenance

這兩座佛塔相對都較細小，通常方便教信 衆旅行攜帶。細小的佛塔並不多見，可能 容易丟失和損壞。這兩座銅鎏金佛塔是 典型十四世紀造型，厚重的鎏金亦相似， 底部都有刻十字金剛杵鎏金銅片密封，應 該是出自同一藝坊。

Edward O’Neill Collection from the 1970s and 80s

來 源 Edward O’Neill 七十至八十年代收藏

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འགོས་གཞོན་ནུ་དཔལ་

“Blue annals” author Zhonupel 西 藏 名 著《 青 史 》作 者 管 宣 奴 貝 (1392-1481) 15th century / 十五世紀 Tibet, Kagyu Abbot of Karmarñing Monastery 西藏, 噶舉派 Bronze / 銅 H 5.6 cm / 公分

Blue Annals This affectionate lama portrait depicts Go Lotsawa Zhonupel (1392-1481) who wrote ”The Blue Annals “ in 1478 AD. His book provides an elaborate and useful historical information on the various spiritual traditions in Tibet up to the fifteenth century.

This sculpture portrays him in his old age wearing a subtle and solemn expression on his face. He is clad in an abbot’s cape and his inner garment incised with beaded rims and motif designs. The sculpture has a brownish patina formed by years of handling from the devotees, and is sealed with a copper plate.

Provenance

青史 管宣奴貝上師在1478年撰寫「青史: 西藏 雪域佛法如何出現和傳播的故事」，那是 一本有關十五世紀前藏傳佛教傳統的重 要史籍。 這一尊面容和善的年老管宣奴貝上師銅 像，造型刻劃細緻精巧，令人愛不釋手。 深啡色的包漿，應是長期膜拜的結果。底 部有銅片密封。

Edward O’Neill Collection from the 1970s and 80s

來 源 Edward O’Neill 七十至八十年代收藏 Reference

The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam Collection; by David Weldon and Jane Casey. Singer, King, 1999, pp. 182–183. Go Lotsawa Zhonupel

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རྗེ་བཙུན་མི་ལ་རས་པ

Milarepa Shrine 密 勒日巴 佛 龕 (1052-1135) 16th century / 十六世紀 Tibet, Kagyu 西藏, 噶舉派 Bronze / 銅 H 13.4 cm / 公分

This sacred shrine depicts Milarepa in his meditative retreat inside a mountain cave where he magically calmed a frightened wild deer and summoned the hunter and the hunting dog all before him. They listened to his preaching in harmony and became followers of Buddhism. The bronze sculpture gives vivid description of the historical scene and is cast in good relief.

Provenance

這佛龕顯示密勒日巴隱居深山靜心修行 的情景。密勒日巴在安撫着一隻受驚的 野鹿，並對着獵人和獵狗説教，終於令他 們放棄殺生，接受佛陀的教誨。密勒日巴 表現他典型的造型：右手高舉耳邊，收聽 大自然的呼喚，從修行中成道。

Edward O’Neill Collection from the 1970s and 80s

來 源 Edward O’Neill 七十至八十年代收藏

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འཇིགས་བྱེད།

a rare figure of Kala Bhairava 罕見的派拉瓦銅像 10th century / 十世紀 India, Pala 印度, 帕拉皇朝 Bronze, color pigment and Cold gold / 銅, 礦彩和冷金 H 8.8 cm / 公分

The Wrath from Pala A powerful statue of Kala Bhairava with rich roasted-brown patina. Bhairava means “terribly fearful form”. He represents the fierce manifestation of Lord Shiva. He protects his devotees from dreadful enemies, greed, lust and anger.

This sculpture of Bhairava is depicted in warrior pose trampling on the two corpses beneath his feet. His right hand raised, brandishing a sword above his head and his left hand holding a Brahman’s head. He has bulging eyes, flaming hair and a ferocious look on his face. He has flying ribbons on his shoulders and wearing a tiger skin dhoti. Despite the intimidating features on the sculpture, the figure appears attractive and protective.

The Hayagriva bronze from Kurkihar, 10th century at the Patna Museum, Bihar, India shares similar facial features and hair style as the Kala Bhairava bronze.

帕拉皇朝的忿怒 非常罕見十世紀帕拉皇朝的派拉瓦銅像。 派拉瓦是印度教濕婆神憤怒的化身。派拉瓦 含有非常可怕的意思，他能保護信衆遠離可 怕的敵人，驅除貪婪、慾望和憤怒。 此銅像高舉右手舞動寶劍，左手下垂握著創 造之神梵天的頭顱。睜圓眼，頭髮飛舞散在 頭後。上身赤裸，肩掛兩蛇，腰披虎皮。雙 腳各踏一異教徒，以戰鬥格姿 勢站在單層大蓮座上。神情 威武。 這派拉瓦銅像特別罕有。除 了多處細節顯示早期東北 印度帕拉皇朝風格，亦 見到西北印度克什米 爾風格的影響。東北 印度巴特那博物舘收 藏的一尊十世紀銅馬 頭金剛有類似風格。

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Provenance

Edward O’Neill Collection from the 1970s and 80s

來 源 Edward O’Neill 七十至八十年代收藏 Reference Linrothe, Robert (1999) Ruthless Compassion: Wrathful Deities in Early Indo-Tibetan Espteric

Buddhist Art. Shambhala, Boston. p.116-7.

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Manuscript cover 木質彩繪護經板 Circa 1500 AD / 約 公 元 1 5 0 0 年 Tibet, Kagyu sub-sect 西藏, 噶舉派分枝下 Gilded polychrome Wood / 黃金上彩木刻 73 x 21.6 x 3.3 cm / 公分

Manuscript This magnificent wood sutra cover is beautifully carved in good relief. It portrays Buddha Shakyamuni and the Five Tathagatas flanked by two Tibetan lamas, each seated in a lotiform base within elaborate throne niches. The eight auspicious emblems (Ashtamangala): fish, lotus, conch, base, endless knot, dharmachakra, parasol and dhvaja embellish the thrones of the divinities and the gurus.

A diminutive figure of Prajnaparamita, holding a vajra and a sword, sits between the two Tatagathas above the pot of long life. There are fourteen niches at the upper and the lower registers of the panel. Six figures remain in the niches, identified as Virupa, Tilopa, Milarepa, Marpa, Ghantapa and a lama probably from the Kagyu lineage. The two ends of the panel are decorated with a hybrid animal (Sharabhas) and a crawling lion amidst the swirling clouds. The front edge is engraved with kirrtimukha in the center. Traces of gold and orange pigments on the surface enhanced the beauty of this manuscript panel.

Provenance

護經板 構圖精緻的彩繪木質護經板。中央刻有釋 迦牟尼和五方佛坐于蓮座之上。蓮座以 八寶中的魚、蓮花、寶螺、寶瓶、無盡結和 法輪襯托。伴着五方佛的兩旁可能是噶 舉派分枝下達隆寺的兩位主持，坐于蓮 座上，飾以寶蓋和寶傘罩。五方佛中間有 一細小的四臂般若菩薩。環繞四週原本有 十四位人物，現存有：毗盧巴、帝洛巴、密 勒日巴、瑪爾巴、甘扎巴、和一位上師。失 去的可能是：金剛總持、那洛巴、岡波巴和 吉滕.薩貢。經文板左側有麒麟、右側有雪 獅。長年累月的損耗令到原有的彩繪大部 分遺失。

Edward O’Neill Collection from the 1970s and 80s

來 源 Edward O’Neill 七十至八十年代收藏

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བླ་མ།

Gelugpa hierarch 格魯派上師 18th century / 十八世紀 China-Tibet 中國西藏 Gilt bronze / 銅鎏金 H 6.3 cm / 公分

Provenance

Edward O’Neill Collection

from the 1970s and 80s

來 源 Edward O’Neill 七十至八十年代收藏

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བླ་མ།

Seated Lama 上師 16-17th century / 十六至十七世紀 Tibet-Nepal 西藏尼泊爾 Gilt copper repousee / 錘碟銅鎏金 H 16.4 x 15.8 x 5.7 cm / 公分

Provenance

Edward O’Neill Collection

from the 1970s and 80s

來 源 Edward O’Neill 七十至八十年代收藏

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གནས་བརྟན།

Set of miniature Mahakala and his retinue masks 一套大黑天及其隨從面譜 19th century / 十九世紀 Tibet 西藏 Terra-cotta / 燒陶 H 10 cm (L) 8 cm (S) / 公分

Provenance

Edward O’Neill Collection from the 1970s and 80s

來 源 Edward O’Neill 七十至八十年代收藏

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འཇིགས་བྱེད།

Vajrabhairava and Vajravetali 大威德金剛雙修 18th century / 十八世紀 China, Tibet 中國, 西藏 bronze / 銅 H 23 cm / 公分

Yamantaka This exquisite bronze sculpture portrays Vajrabhairava and his consort Vajravetali in their sensuous state. Vajrahhairava has nine heads, 34 arms and 16 legs. Color pigments and cold gold adorned the faces and the flaming hair, and diadems are inset with turquoise gems.

The main head is a buffalo, seven are guardian heads, surmounted by Manjusri, the benign manifestation of Vajrabhairava. His principal hands hold the kapala and chopper. The other radiating hands with ritual attributes: ghanta, trident, sword, arrow, bow, lasso, danda, parasol, Bhrama ’s head ,vajra, khavanga. He stands in alidhasana, trampling on heavenly deities, birds and animals, symbolizing his control over evil and ignorance. A thin sheet of silver in the form of elephant skin attached to his back.His consort Vajravetali, in his embrace, holds the ghanta and chopper in her hands. Both divine figures worn a garland of severed human heads and skulls. The statue is consecrated and sealed with a copper plate incised with a gilt double vajra.

A gilded bronze image of Vaijrabhairava Yab-yum (lot 745, Sotheby’s NYC, March 2016) and a parcel-gilt Chakrasamvara (Berti Ashman collection at Rietberg Museum) bear multiple stylistic similarities to this current sculpture.

These three exquisite sculptures were commissioned by the Qing emperors and produced at the imperial workshop.

大威德金剛 罕見精美的漢藏大威德和明妃造像。 大威德金剛有九頭，三十四臂和十六腿。 九頭分三層排列：下層正面大頭是水牛， 旁邊有六個忿怒護法圍繞著；中層有一忿 怒護法；最頂層是文殊菩薩，表明大威德 金剛是文殊菩薩化身。前面兩主手拿著 嘎巴拉碗和鉞刀，其他手各持不同法器： 鈴、三叉戟、劍、箭、弓、套索、骷髏仗、陽 傘、神梵天顱骨、金剛杵和金剛棍等。雙 修像腳踏神靈、鳥獸，象徵著他能控制邪 惡和無知。背掛銀質象皮。擁抱的明妃 手握金剛鈴和鉞刀。護法頭戴骷髏寶冠。 全身赤躶，謹以珠寶裝飾。主身下擺掛著 一串骷髏頭和一串人頭，非常特別。大威 德金剛以戰鬥站姿，威武地立於單層蓮座 上。造像背後有多重火熖拱形背光，佈局 嚴謹，亦增強整體威嚴。底部有鎏金十字 金剛杵銅板密封，尤其難得！ 銅鎏金大威德金剛雙修像（紐約蘇比拍賣 2016年3月，拍品745）和局部鎏金銅勝樂 金剛（瑞士蘇黎世里特貝格博物館Berti Aschmann收藏，頁168-9，號112）與今次 展品有多重風格相似之處。三件雕塑都 很可能由十八世紀時清朝宮廷造辦處鑄 造的。

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Provenance

French collection acquired in China prior to 1946

King’s Art Collection, San Francisco, U.S.A.

來 源 1946 年以前在中國收購的法國收藏品 King’s Art 收藏, 美國三藩市 Reference Uhlig, Helmut (1995). On the Path to Enlightenment: The Berti Aschmann Foundation of Tibetan Art at the Museum Rietberg Zurich, Switzerland. P.168-169, No.112

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Bibliography

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Jeff, Watt. Yamari, Krishna, Himalayanart.org, April 2007, www.himalayanart.org/ items/1043

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Uhlig, Helmut (1995). On the Path to Enlightenment: The Berti Aschmann Foundation of Tibetan Art at the Museum Rietberg Zurich, Switzerland. P.148-149, No.94

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Christie’s 17 Sept, 1998. NYC lot 99, Jigten Sumgon.

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M Rhie and R Thurman, “Wisdom and Compassion, the sacred art of Tibet”, 1996, cat no.

206

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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. Pagmo drupa , Himalayanart.org, August 2005, www.himalayanart.org/ items/65461

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Jeff, Watt. Sonam Lhundrub, Lowo Khenchen, Himalayanart.org, March 2006, www.himalayanart.org/items/89148

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Ulrich von Schroeder. Indo-Tibetan Bronzes; p. 288, pls. 72A (Visual Dharma Publications, 1981). Sadaksari. The Norton Simon Foundation, Pasadena, CA.: F.72.16.7

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Jeff, Watt. Artasiddhi (Varahi) , Himalayanart.org, March 2003, www.himalayanart.org/ items/79088

•

After Heller, Amy, ‘A Set of Thirteenth Century Tsakali’ in Orientations November 1997, p.

48-49.

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The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam Collection; by David Weldon and Jane Casey. Singer, King, 1999, pp. 182–183. Go Lotsawa Zhonupel

•

Linrothe, Robert (1999) Ruthless Compassion: Wrathful Deities in Early Indo-Tibetan

Espteric Buddhist Art. Shambhala, Boston. p.116-7.

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Published by

Hollywood Galleries, Hong Kong Copyright Š 2018 by Hollywood Galleries All rights reserved.

Photography and design ISBN Printed

Andrew Lau 978-988-15327-7-0 in Hong Kong Front cover: Picture of Chandra (cat-12, p.24-25) First page: Picture of Kala Bhairava (cat-33, p.46-47)

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Hollywood Galleries

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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Copyright 2018 Hollywood Galleries

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