Divine Realm by Hollywood Galleries 東寶齋

October 2014

Divine Realm

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展覽地點

東寶齋 香港 荷李活道173號 地下

時間

2014年10月2日 下午5-9時 2014年10月3至10日 早上11時-下午6時半

聯繫

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

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exhibiting at

HOLLYWOOD GALLERIES

G/f, 173 Hollywood Road, Hong Kong

time

Oct. 2nd, 2014 5-9 PM Oct. 3rd-10th, 2014 11 AM-6:30 PM

contact

T: +852 2559 8688/ 2541 6338 F: +852 2803 7273 E: hollywoodgalleries@gmail.com W: www.hollywood-galleries.com

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Contents

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Introduction Catalogue

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Buddhas

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Bodhisattvas

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Gurus

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Guardians

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Ritual Objects

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Bibliography

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About us

造像 Sculpture

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Introduction We would first like to express our heart-

Part of the selection is possible due to

felt gratitude to friends, collectors and deal-

the immense trust that our local and global

ers who have been very generous in their

clientele have in us. They very generously

support to our inaugural gallery exhibition

agreed to allow their collections to be shared

last year.

with fellow collectors who share the same

This current exhibition has been in plan-

passion as theirs. Some of the exhibits come

ning for the past months and takes its final

from newly-met collectors introduced to us

form on October 2-10, 2014.

by dealers and friends. While a few were

For this exhibition, we have carefully selected nineteen bronze Buddhist sculptures

acquired in the past year during our travels in Europe and North America.

and sacred objects from Tibet, Nepal and

Our first-hand experience with the high

Mongolia, spanning from the 11th century to

quality collections has only deepened our

the 19th century.

admiration and appreciation of these sacred artworks. We would like to thank the Metropolitan Museum and the Rubin Museum in New York, the MusĂŠe Guimet in Paris, Museum fur Ostaiatishe Kunst in Cologne,

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Wereld Museum in Rotterdam and Rijkmuseum in Amsterdam for their invaluable insights when we visited them in the spring and summer.

Himalayan Buddhist Art. However, just as

We encourage young entrepreneurs and

Tibetan devotees believe that religious gurus

friends to join us in this rewarding pursuit

are the most important fount of wisdom on

of Himalayan Buddhist Art. To quote Dr. W.

the Tibetan religion; likewise, collectors are

Felten, in his lecture in Brussels on his life-

well advised to seek the guidance of special-

long journey of collecting art, his advises to

ists in the field to deepen their insights on

young collectors are do not speculate; only

Tibetan art.

buy things you desperately need; buy one

Collecting is not a lone pursuit, We hope

expensive art, not many mediocre pieces;

to share with all of you our expertise and

go for the art and enjoy art. These are good

the joy we’ve found in these collections. We

guidelines for young collectors indeed.

would also like to express our sincere grati-

There are many existing archives, both in print and on the internet, on the field of

tude to our long-time supporters in our 29 years of business in this field.

It will be our great pleasure to seeing you in our gallery!

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阿閦佛

Akshobhya Buddha

西 藏 ，1 4 世 紀

Tibet, 14th century

銅

Bronze

高 /Height: 30 cm

Akshobhya Buddha, the Unshakable Buddha, traditionally referred as the Buddha of the Eastern direction, cast in rich brown color metal, peacefully seated in dhyanasana posture on a double lotus throne with right hand touching earth gesture. Made and influenced heavily by Newar art style, could be made in Tibet or Nepal region. Fine cast in one piece and adorned with lapis color pigments, painted with cold gold during Tibetan traditional practice. The appearance of the jewelry decorated crown, slightly short neck and broad shoulder make this statue of Buddha unique from typical Tibetan work.

Two figures of Akshobhya Buddha, Yuan Dynasty (1271-1368), 22.5 cm

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and 21 cm high, made in similar style but gilded, are kept in Beijing Capital Museum.

Mei Ninghuas, and Tao Xincheng. Ed. Buddhist Statues I, Gems of Bei-

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jing Cultural Relics Series. Bejing: Beijing Publishing House, 2001. Print: 114-115, No. 72, 73

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釋迦牟尼佛

Buddha Shakyamuni

漢 藏 ，1 5 世 紀

Tibeto-Chinese, 15th century

銅鎏金

Gilt bronze

高 /Height: 21.5 cm

A richly gilded figure of Buddha Shakyamuni seated in dhyanasana meditation posture on double lotus throne, his right hand touching earth gesture calling Earth goddess to witness his enlightenment. Water-ripple garment covers the body, a strong influence of early Gandara or Gupta style. The folds of his garment have extended to flow to the front of the crossed legs and fall on the throne. Such example of an exquisite facial expression and lotus style can be seen in other 15th century Tibeto-Chinese bronzes patronage by the imperial Chinese.

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A gilt bronze figure of the Fifth Karmapa, sold in Christies’ in 2013,

has almost identical double lotus base, dated 15th century.

Christie’s Indian and Southeast Asian Art, September 18, 2013, New York.

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England: Christie, Manson & Woods Ltd, 2013. Print: No. 319

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藥師佛

medicine buddha/

西 藏 ，1 5 - 1 6 世 紀

Bhaisajyaguru

銅鎏金

Tibet, 15-16th centuries

高 /Height: 18 cm

Gilt bronze

The historical Buddha in Medicine Buddha form, usually in dark blue color when he appears in Tibetan paintings. His right hand is holding a myrobalan fruit haritaki, and vajra scepter lies in front of the Buddha’s crossed legs. Seated on an unusual stretched lotus throne, which continues with a simplified style of lotus to the back of the base.

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彌勒佛

Buddha Maitreya

漢 藏 ，1 7 世 紀

Tibeto-Chinese, 17th century

銅鎏金

Gilt bronze

高 /Height: 9.3 cm

Buddha Maitreya is also known as Buddha of the Future, he is standing in Udayana style with abhaya mudra on his right holding a tip of his flowing garment and on his left hand with varada mudra, gesture of reassurance and bestowal of charity. A dramatic and continuous folds of the shawl covers his body appears as appliqué-like bands embraces the body, commonly found in or after 17th century by Tibetan or Chinese workshops influenced by early style. Gilt bronze figure of Buddha Maitreya in Udayana style with extraordinary quality made by the imperial Chinese patrons in the early 15th century can be seen in former Speelman’s collection. 1In comparison, a larger gilt bronze figure of Udayana style Standing Buddha, 30.5 cm high, wears similar dramatic folding shawls and stands in double lotus base is kept in Beijing Capital museum.

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Mei Ninghuas, and Tao Xincheng. Ed. Buddhist Statues I, Gems of

Beijing Cultural Relics Series. Bejing: Beijing Publishing House, 2001.

Print: p. 210, No. 178

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釋迦牟尼佛

Buddha Shakyamuni

尼 泊 爾 ，迦 舍 末 羅 ，1 4 世 紀

Nepal, Khasa Malla, 14th century

銅鎏金

Gilt bronze

高 /Height: 16.5 cm

A rare and a small example of gilt bronze sculpture of Buddha Shakyamuni from Khasa Malla kingdom which ruled over West Nepal and West Tibet from the 12th century to mid 14th century. His right hand is touching earth to call for witness during the Enlightenment. With extraordinary upturned ear jewelry on his long stretched earlobes, thick mercury gilded over rich brown color copper alloy, enhancing the beauty of Nepalese workmanship, with a trace of orange-red pigment on his lotus base. Two large Khasa Malla gilt copper alloy figure of Shakyamuni dated in 112th and 214th century, both have lost the lotus bases, 47 cm and 45 cm high, with similar form and earrings are now kept in Patan Museum, Nepal, and The Rubin Museum of Art, New York.

Orientations vol 28 No. 10 November 1991: 55, fig 3, 47 cm high

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Collection Highlights from The Rubin Museum of Art. Ed. Jonathan Kuhr.

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Italy: EBS, Verona, 2014. Print: 12-13. 45 cm high

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金剛薩埵 Vajrasattva 尼泊爾 Nepal

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金剛薩埵

Vajrasattva

尼 泊 爾 ，1 3 - 1 4 世 紀

Nepal, 13th-14th centuries

銅鎏金 鑲嵌銀

Gilt bronze with silver inlaid

高 /Height: 35.5 cm

An important and richly gilded figure of Vajrasattva seated in dhyanasana, with lavishly jewelled ornaments, left hand in vitarkamudra, and the vajra on his right hand now missing. The work of this Vajrasattva has influences from both Nepal and Tibet, which might define as Newar artists made for Tibetan patrons. An unusual urna is inlaid with silver on his forehead under the crown of Garuda stretching its wings supporting the wheel of law. His hair knot is topped with a five pronged vajra. 1One very similar gilt bronze of Vajrasattva is kept in Tibet House Museum, New Delhi, India. 2Another smaller Vajrasattva (30 cm), dated 12th-13th centuries, was sold in Sotheby’s in 2008.

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“Collection of Tibet House Museum, New Delhi.” Himalayan Art Re-

sources. 19 Aug. 2014 <http://www.himalayanart.org/image.cfm/71764. html>.

Sotheby’s Indian & Southeast Asian Art, March 19, 2008, New York. Print:

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110-111, No. 302

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Mongolia

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綠度母

Green tara

漢 藏 ，1 8 世 紀

Tibeto-Chinese, 18th century

銅鎏金

Gilt bronze

高 /Height: 10.5 cm

An adorable figure of Green Tara, she smiles gently and seated in lalitasana form on a double lotus base with her right leg rests on an extended lotus blossom. Her left hand holds a stem of lotus flower at her shoulder about to blossom.

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Mongolia

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彌勒菩薩

Bodhisattva maitreya

西 藏 ，1 6 世 紀

Tibet, 16th century

鎏金銅

Gilt bronze

高 /Height: 20 cm

Bodhisattva Maitreya cast in gilded bronze, peacefully seated on double lotus base in dhyanasana, performing Dharma teaching mudra with both hands. On the sides of his shoulders there are two flowers blossoming and supporting a Dharma Wheel on his right and a water flask on his left. Maitreya is adorned with a crown in front of his high hair knot, jewelled ornaments, wearing a Chinese style silk robe.

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Mongolia

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觀 世音菩薩

Bodhisattva padmapani

西 藏，帕拉風格，1 2 -1 3 世紀

Tibet, Pala style, 12th-13th centuries

銅

Bronze

高 /Height: 12 cm

Padmapani seated in lalitasana with perfectly balance, his right leg relaxes on extended flower blossom growing from an unique condensed double lotus base. His right hand shows varada mudra and left hand holds a stem of flower blossom extended to his shoulder. A deer skin on Padmapani’s upper body is carefully decorated with dots pattern.

His face is crafted beautifully in an Eastern Indian Pala style (7501162). The rich dark brown color of this bronze forms a warm patina after many years of careful taken of. 1A bronze figure of Bodhisattva Avalokiteshvara (12cm high), dated 12th century, can be found in Alain Bordier’s Collection.

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Béguin, Gilles. Art sacre du Tibet: Collection Alain Bordier. Bourges: Edi-

tions Findakly, 2013. Print: 75, No. 22

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不空羂索觀音菩薩

amoghapasa

尼 泊 爾 ，1 1 - 1 2 世 紀

Nepal, 11-12th century

鎏金銅

Gilt bronze

高 /Height: 23 cm

From *William H. Wolff, Inc.’s collection before 1998 and Nitta’s Collection, an unusual and early Nepalese bronze figure of Amoghapasa, richly gilded, standing in tribhanga posture on double lotus square base. This statue was probably cast in unalloyed copper, a chocolate-brown color metal with traces of red pigment on the surface.

Amoghapasa, the Unfailing Lasso, dressing in highly decorated robe, a stem raised from the lotus touches the end of the robe. A fire halo is behind his head. Among his six pairs of arm his major right hand shows fear not mudra. 1A larger figure of Nepalese Amoghapasa (31.5 cm high) dated in 8th-9th centuries, which has a more classical Licchavi (300-879) influence, can be seen from Nyingjei Lam collection.

Christie’s Indian & Southeast Asian Art, September 17, 1998, New York.

London: Vauxhall Pre Press, 1998. Print. No. 41 Weldon, David, and Jane Casey Singer. The Sculptural Heritage of Ti-

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bet: Buddhist Art in the Nyingjei Lam Collection. London: Laurence King Publishing an imprint of Calmann & King Ltd, 1999. Print: 50-51, pl. 9 Christie’s Indian and Southeast Asian Art, September 17, 2003, New York.

London: Christie’s International Media Division, 2003. Print. No. 46 similar Amoghapasa, 31.8 cm high without base

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蓮花忿怒金剛 “ 多杰佐烈”

Dorje drolo

蒙 古 ，1 7 世 紀

Mongolia, 17th century

銅鎏金

Gilt bronze

高 /Height: 16 cm

Fearsome form of Padmasambhava, with three bulging eyes, curly hair, and his upper fangs bit down on the lower lip. Each ear is hanging with a long twisted earring. He is holding a phurba and a bell, standing in alidhasana on top of extraordinary single lotus base crafted with a recumbent tiger under his feet. Such two dimensional tiger is rare, comparing other Dorje Drolo that made in the same period. 1A similar gilt bronze figure of Dorje Drolo (13.5 cm), with slightly more polished in quality, standing in front of a tiger, his avatar, is kept in Beijing Capital Museum.

Mei Ninghuas, and Tao Xincheng. Ed. Buddhist Statues I, Gems of Bei-

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jing Cultural Relics Series. Bejing: Beijing Publishing House, 2001. Print. p. 248, no. 230

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蓮花生

Padmasambhava

西 藏 ，1 7 世 紀

Tibet, 17th century

銅鎏金

Gilt bronze

高 /Height: 21 cm

Padmasambhava, also known as Guru Rinpoche or the Second Buddha, believed to be the Indian teacher who brought Buddhism to Tibet in the 8th century. He wears a hat topped with leather, dresses in layers of Dharma robe and Tibetan boots. His right hand holds a five-pronged vajra near his heart, his left hand holds a skull cup or Kapala bowl on his laps. Seated in dhyanasana on double lotus base, against his shoulder is a khatvanga staff which seems to be a later reproduction. Two similar works of gilt bronze figures of Padmasambhavas, 1one (15.5 cm) in Beijing Capital museum, 2and the other one (14.3 cm) in Oliver Hoare’s collection, both dated 15th century.

Mei Ninghuas, and Tao Xincheng. Ed. Buddhist Statues I, Gems of Bei-

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jing Cultural Relics Series. Bejing: Beijing Publishing House, 2001. Print. p. 135, no. 95 2

Stoddard, Heather, Donald Dinwiddie, Ramon N. Prats, Peter Alan

Roberts, Cyrus Stearns, and Tenzin Dechen Rochard. Portraits Of The Masters: Bronze Sculptures of the Tibetan Buddhist Lineages. Chicago: Serindia Publications, Inc., 2003. Print: 110-111

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蓮花生

Padmasambhava

西 藏 ，1 8 世 紀

Tibet, 18th century

銅鎏金

Gilt bronze

高 /Height: 12.5 cm

A gilt bronze statue of Padmasambhava, similar to cat-no. 12, except he is holding his five-pronged vajra outward across his knee, and a skull cup filled with nectar, jewelry and a long-life vase in his left hand. He wears a high hat with sun and moon decoration. Dressed in layers of Dharma robe and Tibetan boots, seated in royal posture on top of lotus blossom base. An almost identical bronze Padmasambhava with no gilt but with an additional lion throne as a base is kept in National Museum of China, Beijing.

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勝樂金剛

Chakrasamvara

內 蒙 古 ，多 倫 洛 爾 ，1 9 世 紀

Inner Mongolia, Dolonnor,

銅鎏金

19th century

高 /Height: 30 cm

Gilt bronze

A Inner Mongolian style yab-yum with distinguished face, upward eyebrows and expressive posture of Chakrasamvara. However, Samvara in ten arms and main hands with Dharma teaching mudra accompany his consort Vajrayogini is still hardly to be certain and identified as Chakrasamvara. He is standing in alidhasana position on top of two prostrated mortal bodies and lotus base.

Béguin, Gilles, and Dorjiin Dashbaldan. Trésors de Mongolie XVII-XIX siécles, Musée national des Arts asiatiques-Guimet, Paris. Paris: Réunion des Musées Nationaux, 1993. Print: 166-171, No. 18 Mahasiddha with similar face and upward eyebrows

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大威德金剛 Yamantaka 漢藏 Tibeto-Chinese

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大威德金剛

Yamantaka

漢 藏 ，1 8 世 紀

Tibeto-Chinese, 18th century

銅鎏金

Gilt bronze

高 /Height: 19 cm

A remarkable Tibeto-Chinese Yamantaka executed in richly gilded bronze, probably made in the Imperial workshop ordered by Chinese royal patrons. Wrathful manifestation of Manjusri, the Bodhisattva of Wisdom or the Dharma protector, this Yamantaka has nine circular faces, including a superior buffalo face in the centre front and a face of Manjusri on the top. His main hands are holding the skull bowl and chopper embracing Vajrayogini, on the side two stacks of hands each holding original weapons or ritual objects. Standing in alidhasana position, stepping on humans, animals and flying birds, on top of a double lotus blossom. Yamantaka carries a white elephant skin behind his back, and a chain of skeletons is hanged under his dress distinguishing him from peaceful deity. An orange-red mineral pigment covering his hair is commonly seen on other wrathful deities made in the same period. 1A gilt bronze figure of Yamantaka (16.5 cm) from Beijing Capital Museum shares similarity with this piece, however with less refined workmanship.

Mei Ninghuas, and Tao Xincheng. Ed. Buddhist Statues I, Gems of Bei-

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jing Cultural Relics Series. Bejing: Beijing Publishing House, 2001. Print. p. 203, no. 170

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金剛亥母

Vajravarahi

西 藏 ，1 3 世 紀

Tibet, 13th century

銅

Bronze

高 /Height: 41 cm

An expressively powerful Vajravarahi well mastered in the sublime beauty of simplicity. Naked and dancing with one foot stepping ground, adorned with skeleton skulls necklace, jewelled ornaments, triangle shape armbands, and large earrings. Right hand holding ritual chopper with unusual type of handle, left hand holding a skull bowl to her heart. Glazing up front with three bulging eyes while smiling and showing her fangs. A boar’s head is beautifully cast on right side of her head. A hook on her left arm was originally used for holding her Khatvanga which now is lost. 1Similar geometric shape of ornaments can be seen on a brass figure of Akshobhya Buddha dated 12th century in Alain Bordier’s Collection.

Béguin, Gilles. Art sacre du Tibet: Collection Alain Bordier. Bourges: Edi-

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tions Findakly, 2013. Print: 164, no. 78

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普巴

Phurpa

西藏16-17世紀

Tibet, 16th-17th centuries

銅 、紅 銅 和 銀

Bronze with copper and silver

高 /Height: 24 cm

Phurpa, a piercing and wrathful ritual dagger commonly used in Himalayan shamanic ceremonies and meditation practice. Three skeleton crowned wrathful bearded faces of Vajrakila each cast in different metals: gilt bronze, copper, and silver. Handle is designed with weaving knot. Makara, a mythological sea animal with elephant trunk, its mouth widely opened and bitting the blade of phurpa, decorated with two nāgas entwined on each sides.

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普巴

Phurpa

西 藏 ，1 5 世 紀

Tibet, 15th century

天鐵與金

Meteorite iron with gold

高 /Height: 15.5 cm

Similar to the previous item cat-no. 17, phurpa, a piercing and wrathful ritual dagger commonly used in Himalayan shamanic ceremonies and meditation practice. However, this partially gilt phurpa seems to be made in a much symmetrically simplified and expressive design by the Tibetan artist in the 15th century. Much uniformed knot work, and stretched weaving work can be seen at the handle. Instead of a relatively common head of Makara bitting the phurpa blade, there is a simplified yet nicely executed flame-shaped pattern gilded on this meteorite iron dagger.

Christie’s Indian & Southeast Asian Art, September, 17, 1999, New York.

London: Vauxhall Pre Press, 1999. Print. No. 99 similar knot work and shape of the blades

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加巴拉

Kapala

西 藏 ，1 8 世 紀 或 更 晚

Tibet, 17th century or after

銅鎏金

Gilt bronze

高 /Height: 14.8 cm

An interesting sample of highly jewelled Kapala skull bowl, can often be seen holding by other Tibetan Buddhist deities, such as cat-no.

12, Padmasambhava and cat-no. 16, Vajravarahi. An upside down human skull supported by three beast-like skeleton heads, furnished with jewelled ornaments, silk-like banner and mythical animal faces.

A lid representing the lower jaw, has Sanskrit characters with lotus surrounding its backside, and a double vajra stands at the top. Such Kapala cast in gilt bronze is rare. Based on the work and iconography, this sculpture most likely to be made in 17th century or after.

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Bibliography

Béguin, Gilles. Art sacre du Tibet: Collection Alain Bordier. Bourges: Editions Findakly, 2013. Print.

Béguin, Gilles, and Dorjiin Dashbaldan. Trésors de Mongolie XVII-XIX siécles, Musée national des Arts asiatiques-Guimet, Paris. Paris: Réunion des Musées Nationaux, 1993. Print Christie’s Indian & Southeast Asian Art, September 17, 1998, New York. London: Vauxhall Pre Press, 1998. Print.

Christie’s Indian & Southeast Asian Art, September, 17, 1999, New York. London: Vauxhall Pre Press, 1999. Print.

Christie’s Indian and Southeast Asian Art, September 17, 2003, New York. London: Christie’s International Media Division, 2003. Print.

Christie’s Indian and Southeast Asian Art, September 18, 2013, New York. England: Christie, Manson & Woods Ltd, 2013. Print.

Collection Highlights from The Rubin Museum of Art. Ed. Jonathan Kuhr. Italy: EBS, Verona, 2014. Print.

“Collection of Tibet House Museum, New Delhi.” Himalayan Art Resources. 19 Aug. 2014 <http://www.himalayanart.org/image.cfm/71764.html>.

Mei Ninghuas, and Tao Xincheng. Ed. Buddhist Statues I, Gems of Beijing Cultural Relics Series. Bejing: Beijing Publishing House, 2001. Print.

Orientations Magazine vol 28 No. 10 November 1991. Print Sotheby’s Indian & Southeast Asian Art, March 19, 2008, New York. Print.

Stoddard, Heather, Donald Dinwiddie, Ramon N. Prats, Peter Alan Roberts, Cyrus Stearns, and Tenzin Dechen Rochard. Portraits Of The Masters: Bronze Sculptures of the Tibetan Buddhist Lineages. Chicago: Serindia Publications, Inc., 2003. Print.

Weldon, David, and Jane Casey Singer. The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam Collection. London: Laurence King Publishing an imprint of Calmann & King Ltd, 1999. Print

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Published by

Hollywood Galleries, Hong Kong Copyright © 2014 by Hollywood Galleries All rights reserved.

Photography ISBN Printed

Roger Ho 978-988-15327-5-6 in Hong Kong by Regal Printing Ltd. Above: Detail of Buddha Shakyamuni (cat-2, p.10-11) Front: Detail of Khasa Malla Buddha Shakyamuni (cat-5, p.16-17) Back: Detail of Yamantaka (cat-15, p.38-41)

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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，專營佛教藝術雕塑丶繪畫和其他宗教 作品，包括喜馬拉雅山區地帶丶印度丶中國丶東南 亞跨度從十二世紀至十九世紀的藝術作品。 其主要 專長是藏傳鎏金銅像，多年與中國及海外的私人收 藏家和博物館合作。 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，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 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 business pursuit 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 is continuously extended.

香

版 東

港

權 寶

印

所

齊

刷

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Copyright 2014 Hollywood Galleries

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