Harmonious Virtue Gerry & Pamela Virtue Art collection 融和 · 霍崔佛教及印度敎藝術珍藏 by Hollywood Galleries 東寶齋

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融和 · 特別介紹 霍崔佛教及印度敎藝術珍藏

Harmonious Virtue Highlighting

G e r r y & Pa m e l a V i r t u e

B uddh i s t & Hi n du a rt c ol l ection

展覽地點

東寶齋店內 香港上環荷李活道 173 號

時間

2018年9月28 - 10月13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

Hollywood Galleries 173 Hollywood Road, Sheung Wan, Hong Kong

date

contact

Sept 28 - Oct 13, 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: 978-988-15327-6-3

S ept

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O ct 2018

融和 · 特別介紹 霍崔佛教及印度敎藝術珍藏

Harmonious Virtue Highlighting

G e r r y & Pa m e l a V i r t u e

B uddh i s t & Hi n du a rt c ol l ection

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Foreword

I

I

first met

Gerry Virtue

and his family in

was most impressed by his art collection .

visited

N epal

as early as

1959

1974. Even

G erry

at that early period

had the advantage of having

and was a regular visitor there as well as engaging

in mountain walking , exploration and business ventures including the first ever balloon flight over which had come to

Mt Everest. In

those far - off days there were many fine pieces

Kathmandu with Tibetan refugees and what made Gerry different

from many other collectors was that he bought only the pieces which spoke to him directly no matter its age or condition .

In 1976 we collaborated on an exhibition of Tibetan art, both religious and

secular , at the

Seymour Centre

in

Sydney,

held to coincide with the first visit to

Australia of the Lhamo Tibetan Folk Dance Company. During that time I discovered pieces of great interest in

This

Gerry’s collection that I had never seen the like of before.

seminal experience served to broaden my own collecting criteria and in some

ways we developed a similar aesthetic sense as a result .

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Influential

pieces included

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Nepalese Yab -Yum (cat - no . 10)

the unusual

not seen in my residence there in number of pieces to an exhibition

University

of

1967 I

pieces came to light that visit to the

Virtue

I

1969. In 1982 Gerry

arranged in

Melbourne, ‘The Art

honour of the first ever visit to

and

figure with long limbs , a type

of

Tibet,

Australia

Melbourne

the

of

Land

H.H.

of

the

at the

I

had

graciously lent a

Gryphon Gallery,

Snow.’ This

was held in

Dalai Lama. Again

more

had never seen before and so the years passed with every

home revealing not only a deeper friendship but more and more

pieces .

But Gerry was not simply a collector – in all aspects of his life he was a true Renaissance

man .

read broadly on

Apart

from his family which of course was his greatest love , he

Himalayan

art , travelled extensively in the

often quite alone , showed a deep and abiding love for writing a very well received novel in

2

volumes ,

Karakoram

Nepal

mountains

and its culture , even

‘Kathmandu-the Novel’

in

2012.

His breadth of interests constantly amazed me and yet he was not one to talk much about himself.

‘Blazing I

the

His reticence was such that it was only on publication in of his memoir

Hippie Trail

in

1959: Calcutta

to

London

on

10

pounds ’

(2013)

that

realized that he had indeed accomplished this incredible travel feat at all !

Gerry

Pamela

whose love for the pieces and whose aesthetic sensibilities were the equal of

Gerry’s

as a collector of art was as always , aided and abetted by his wife

superb eye .

His

main criterion in forming his collection was that each and

every piece he collected had to have an appeal based upon the piece ’ s unusual nature

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and its inherent quality .

He

loved and treasured each piece and rejoiced in their

revealing new angles , aspects and details after decades of viewing them .

I

recall

looking at several pieces in sunlight , oblique lamplight and in a muted low - level light to see differing aspects of the piece .

And

so because of this broad view which motivated his putting together a

collection, we find some relatively recent images (but of the highest quality), unusual folkish pieces and various images which spoke to him with a directness and immediacy which he could not resist . home in

Sydney

I

remember that on every visit

I

made to his gracious

we would spend many hours examining recent purchases and on

occasion he would dig out a box which he had not opened in years and we would both be amazed at the contents . contained the paintings by in

Tibet

in

1925

On

one such occasion he unearthed a box which

Madame Lea LaFugie (1890-1972)

painted on the spot

and how surprised he was at how brilliant they were after many

years lying in the box , unseen .

We looked at them and were amazed at the character

of the various subjects which she managed to put onto paper and

I

recall that we

thought how well she had captured their beauty , charm , craftiness and pride within such modest paintings .

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Many

of

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Gerry’s

pieces which

I

remember from the

1970’s

onwards have

moved upwards (and sometimes downwards) on the scale of ‘fashionable’ collecting.

But

the discerning viewer will see from the broad scope of what he collected and

the highly unusual nature of some of the pieces that his discernment was in his eye and never in the piece ’ s popularity . the

He

was far beyond that level in his forming

Virtue Collection.

Gerry

was not only a collector but lived his life to its absolute fullness

according to an idea which his wife adventure . to bring .’

Pamela recalls. He once said to her, ‘Life is an

You wake up in the morning and you don’t know what the day is going Perhaps

it is this idea of buying only what accords with the criteria of

one’s own life-philosophy that makes a true collection and a true collector as we see here in the

Virtue Collection.

Dr. David Templeman Monash University, Australia

Gerry Virtue, Pamela Virtue, Dr. David Templeman

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前言

我和霍崔家族相識於1974年。從開始他們的收藏品已深深吸引我。霍崔

先生（謝利）於1959年已踏足尼泊爾，足跡遍佈喜馬拉雅地區。亦是最早乘坐 熱氣球跨越額菲爾士峯（中譯珠穆朗瑪峰）。當時衆多喜馬拉雅地區藝術品由 西藏流向尼泊爾以至世界各地，謝利挑選合他眼緣的藝術品，藝術品的製作年 代和品相是次要。

1976年我們首次合作在澳洲雪尼西摩中心舉辦「西藏宗教和民俗藝術

展」，同期西藏民俗舞蹈團亦初次在澳洲表演。當時我已察覺謝利獨特的品味 和鋭利的收藏眼光。年輕的我學習到他們收藏的態度和方向，令我受益良多。 那時我已留意到今次展覽「融和」中的十七世紀尼泊爾歡喜佛，其中歡喜佛特 別修長的四肢令我印象深刻難忘。

1982年謝利慷慨地借出多件喜馬拉雅地區藝術品讓我們在澳洲墨爾本大

學舉辦「雪地的西藏藝術」展覽，那是紀念尊貴的十四世達賴喇嘛上師初次蒞 臨澳洲。自此我和霍崔家族的友誼日益鞏固，讓我更加認識霍崔家族的珍藏。

謝利不僅是收藏家，他更是深受十九世紀歐洲文藝復興時期影響的學

者。他熱愛家庭，喜愛喜馬拉雅地區藝術，多次翻山越嶺遍踏喀喇崑崙山脈， 醉心於尼泊爾文化和藝術。2012年發表了兩冊「加德滿都小説」。他的博學多

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才，令人敬佩。我們更從他2013年出版的自傳「1959年嬉皮士熾烈之路：花10 英鎊由加爾各答旅行到倫敦」認識到謝利不可思議的旅行經驗和夢想。

謝利收藏之路全賴背後的夫人：彭美拉。霍崔夫人同樣具有感性和鋭利

的審美觀眼光。每件收藏品都反映他們獨特的品味，必須得到他們的鍾愛。這 些收藏品可以讓他們隨時隨刻欣賞，由此可見他們挑選藝術品的嚴格要求。

故此我們會察覺霍崔夫婦收藏品有一些是年代較近（但質素高）和民

俗性強的藝術品。有些雕塑和畫像令霍崔夫婦產生特殊的感受。歷年的拜訪離 不開霍崔夫婦傾談他們收藏之路、旅程奇遇和新增藏品的故事。夫婦二人都可 以如數家珍，讓我知道他們收藏品的精彩典故。有一次他們將拉發李亞女士 （1890-1972）在1925年西藏時繪畫的人像素描拿給我們欣賞。繪畫顏色鮮明， 線條精細準確，人物生物，更難得的是保存良好，實在令人讚嘆。霍崔家族收 藏品範圍廣泛，絕非是順應潮流，而是跟隨他們獨特的眼光和喜好。

霍崔夫人彭美拉認為謝利不單是藝術收藏家，他的一生是絕對完美的。

謝利曾説過：「生命是不斷的探索歷程，日日如新。選擇藝術品正是反映每個 收藏家對生命的體會和思考。」這正是霍崔夫婦收藏的寫照。

譚保文敎授 澳洲蒙納士大學

霍崔夫婦及譚保文敎授

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Preface

”Harmonious Virtue”

both of

Buddhist

and

Hindu

Mr. Gerry Virtue

Their both

and

is our debut exhibition featuring an equal balance of

religious art .

The

highlight comes from the collection

Mrs. Pamela Virtue, Australia.

collection composes of sculptures , paintings and ritual objects from

Buddhist

and

Hindu

origin , acquired in the

1960’s.

The compilation in this exhibition, to some extent, conveys the appreciation of both

Buddhist and Hindu art in perfect harmony. It also applies to the core teachings

of the two where

Buddha’s Path

crosses the

Hindu Cosmos. With

both origins in

India and the common belief on reincarnation, a harmonious virtue between the two should be attained and cultivated .

It

is our great honor to include the special collection from

G erry

and

Pamela Virtue. We are grateful for their trust and confidence in us. The exhibition will not be possible without the help of between the

Virtue

family and us .

We

Dr. David Templeman who creates the bridge

also thank him for his wise counsel and pro -

fessional guidance during the process of preparing the materials for this catalogue .

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His translations on the important set of the five miniature paintings published in Dr. Pal’s ”Buddhist Book Illuminations”

in

1988

are of utmost value .

used in the inscriptions date from a very early period of revised in the

12-13

9

Tibetan

Some

words

language and were

th century , and their being used in these miniature paintings in the

th century confirms a very early dating .’

We

also wish to thank

identifying a couple of the

Sir Edward O’Neill

for his knowledge and help in

Hindu deities, without his generous sharing and encour-

agement , we would not move on so smoothly and energetically with the research work .

To our team, we benefitted from the debates and discussions among ourselves.

They

not only draw us closer to each other

but also help us to equip ourselves

better in the understanding of our field .

Our clients and friends, of course, deserve a particular note of thanks: your continuous support and kind words have , as always , served us well .

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序

「融和」代表佛教和印度教藝術的融洽，亦是我們的期望。這次展覽特

別展出澳洲霍崔先生夫人的收藏。

霍崔夫婦收藏包括印度教和佛教雕塑造像、唐卡和法器。他們的收藏最早追 溯至上世紀六十年代。

這次展覽表現霍崔夫婦的審美眼光不會局限於單純的宗教藝術。從他們的 收藏反映出佛教和印度教藝術的融合。我們見到佛陀的步伐與印度教的宇宙互 相交融，和平共處的現實。兩個不同的宗教，都是源於印度，思想上亦有相似 的地方—例如輪迴。自然融合是理想和目標。

我們非常榮幸展出霍崔夫婦的藏品。感謝他們對我們的信任。能夠得

到他們的信任，居功至偉的絕對是澳洲墨爾本大學的譚保文教授，我們衷心感 激。我們更要謝謝他的協調、協助、顧問和翻譯。霍崔收藏中最重要一組五張 經文彩繪—曾經在派爾博士1988年出版的「佛教經文繪畫」封面出現—藏文翻 譯，讓我們瞭解到這些經文追溯至十二至十三世紀，因為經文上的藏文已經在 十三世紀之後停用。

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我們亦要感謝收藏家歐啓宗老師的幫助。沒有他的慷慨分享，很多造像

我們沒法辨認。歐老師的博學，減輕我們在編寫是次圖錄的硏究負擔。我們衷 心感謝。

至於我們的工作團隊，每次編寫新的圖錄，我們都希望加倍努力，讓我

們從毎一件不同的藏品增長認識和知識。其間與時間的競賽，間中不同意見以 致爭論，都希望讓我們從學習中往前更進一步。

最後，我們更要感謝我們的朋友和客人，沒有您們的長期支持，我們絕

不可能跑到今天！謝謝您們！

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T ejorajaya B uddha Qing Qianlong

mark and period

光明王佛 《大清乾隆年敬造》 《簡明净土宗詞典》（林克智编著） （佛名）在最上方世界之佛名。觀無量壽經曰：‘七寶國土，一時動 搖，從下方金光佛剎，乃至上方光明王佛剎。’八十華嚴經六曰：‘ 此華藏世界海上方，次有世界海，名摩尼寶照耀莊嚴。彼世界種中有 國土，名無相妙光明，佛號無礙功德光明王。’

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01 T ejorajaya B uddha

Qing Qianlong mark and Gilt Copper 30.5 cm h

period

(1735-1796 AD)

光明王佛 《大清乾隆年敬造》款年製 (1735-1796 AD) 鎏金銅 30.5 公分 高

P r ov e na n c e Virtue collection, Australia

since

1960s

來源 澳洲霍崔夫婦六十年代收藏 I n s c r ipti o n Da Qing Qian long nian jing zao (Respectfully made in the Qianlong Tejorajaya Buddha

period in the

Great Qing

dynasty )

銘文 大清乾隆年敬造 光明王佛 This Buddha was commissioned under the imperial order of the Qing Court.

The workmanship has combined casting and metal-hammering technique. The statue is well preserved with its original pigments and gilding . T he base is inscribed with C hinese , T ibetan and M anchurian characters . 此佛造像是宮廷御製。技師以錘鍱和失蠟法鑄造合成。保存頗佳—原裝金 泊和鎏金。蓮花座刻有漢、滿和藏三種文字，彌足珍貴。

Original

sealed plate

incised with a crossed vajras visvavajra .

佛像底部有原裝刻有十字金剛杵銅片封底。

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02 “A F renchwoman

paints the

Léa (Madame) Lafugie (French, 1890-1972) Tibet, 1925AD Water color on Paper 35 x 28.3 cm - 21 x 20.5

T ibetans ”

cm

“法國女人繪畫西藏人”

拉夫吉夫人 (法國, 1890-1972) 西藏，公元1925年 水彩 紙 35 x 28.3 公分 - 21 x 20.5 公分

P r ov e na n c e Gerry and Pamela Virtue collection, Australia 來源 澳洲霍崔夫婦六十年代收藏

since

1960s

Reference Lafugie, Lea. “The National Geographic Magazine.” 1949, pp. 658–692. 參閱 《國家地理雜誌》，Lafugie, Lea.編，1949年，頁658-692。 A collection of twelve Tibetan portrait paintings each signed and dated by Madame Lafugie while she was in Tibet in 1925ad. Seven of them have additional Tibetan written. 一套十二幅由著名法國拉夫吉夫人在西藏 1925 年時繪畫的西藏人肖像畫 集，每幅各有簽名及日期。 其中七幅附有西藏文字。

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Lozang Tashi, Good Mind Happiness” “江孜寺院的偉大誦經大師，心靈幸福” Red-robed monk, Gyantse 紅袍僧侶，江孜

great chanting master of the monastery

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03 E ka - mukhalinga

India probably Rajasthan, 11th Stone 29.7 cm h

century

濕婆林伽 印度 可能拉賈斯坦邦 十一世紀 石 29.7 公分 高

P r ov e na n c e Virtue collection, Australia since 1960s 來源 澳洲霍崔夫婦六十年代收藏 Eka-mukhalinga, “Linga with a single face”, an Shiva. He is one of the three main supreme Gods

God Hinduism. The sculpture is represented in the form of an unusual large torso of S hiva in front of a raised pillar . H is high chignon , extended eyebrows , and refined jewels and heavy earrings resemble the early I ndian P ala style . T he wear on the surface provides evidence of this L inga being highly worshipped in the past using the pouring liquid as ritual offerings . aniconic depiction of

in

濕婆林伽，抽象化的濕婆神化身。濕婆是印度教三位主要至高無上的的 神之一。濕婆半身造像出現在象濕婆性器官的圓柱前，缐條優美他的高 髻長眉、精緻的珠寶和厚重的耳環反映印度早期帕拉風格。雕像表層皮 殻代表長期崇拜供養。

Reference Lerner, Martin, and Steven M. Kossak. The Lotus Transcendent: Indian and Southeast Asian Art from the Samuel Eilenberg Collection. Metropolitan Museum of Art, 1991.

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G uhyakali · N epal 17 th century 古雅伽黎女神博巴 · 尼泊爾十七世紀

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04 G uhyakali

Nepal, 17th century Bronze 24.3 cm h

古雅伽黎女神博巴 尼泊爾，十七世紀 銅 24.3 公分 高

P r ov e na n c e Gerry and Pamela Virtue collection, Australia 來源 澳洲霍崔夫婦六十年代收藏

since

1960s

M other G uhya K ali , “T he S ecret K ali ”, is one of the manifestations of Parvati Goddess. She has eight arms and ten heads, 8 of which are in animals or bird form , signifying her cosmic status . E ach of her eight arms holds a ritual object . S he is adorned with jewels and a garland of skulls . B elow her lies a dog gazing up at her and a reposing B hairava ( wrathful S hiva ) above the plinth engraved with five heads of crowned deities . S culpted images of Guhyakali are rare even though she is well loved by many Nepalese devotees. 偉大的母親「古雅伽黎女神博巴」，又號「神秘的伽黎」，是印度教女 神帕爾瓦蒂的化身之一。她有八臂和十面：除了主面和最高的面是慈悲 女神外，其餘八面是動物和鳥，展示她掌管宇宙萬物。她的八手持有不 同法器。身戴珠寶和人頭骨串。在女神下方，有一隻狗凝視著女神女神 下方還有陪臚（憤怒的濕婆神）和五個戴冠的神。儘管「古雅伽黎女神 博巴」深受尼泊爾的信徒喜愛，她的造像卻較罕見。

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05 G roup of five T salpa K agyu P aintings from L ama Z hang (1122-1193AD) disciple Central Tibet, 13th Paper, 23

x

23

20.5

cm

(Buddha) 22.5

16

cm

(Prajnaparamita)

x

20.5

century

cm

(Tsalpa Kagyu Lama) 15.7 x

20.5

cm

x

20.5

cm

(Lama-siddha &

15.5

x

With

inscriptions on the front and back

(Krishna

yamari )

his disciple )

一套五幅采巴噶舉派 采巴·祥·尊哲札巴 (1122-1193AD) 門徒的繪畫 西藏中部，十三世紀 紙 23

x

22.5

20.5 公分 (喇嘛悉達和弟子) 15.5

x

20.5 公分 (采巴噶舉喇嘛) 15.7

x

20.5 公分 (黑閻魔敵) 23

x

x

20.5 公分 (佛佗)

16 公分 (般若波羅蜜多菩薩)

正面和背面都附有銘文

P r ov e na n c e Gerry and Pamela Virtue

collection ,

Australia

since

1960s

來源 澳洲霍崔夫婦六十年代收藏 P u b l i cati o n “Buddhist Book Illuminations”,

by

Pratapaditya Pal

and J ulia

Meech, Ravi Kumar, 1988,

cover .

出版 《佛教書籍照明》，由普拉塔帕迪蒂亞·帕爾和朱莉婭米奇，拉維·庫馬爾，1988年，封面。

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G roup of five T salpa K agyu P aintings from L ama Z hang (1122-1193AD) disciple Central Tibet, 13th

century

Tsalpa Kagyu Lama 采巴噶舉喇嘛 23

x

“bla

20.5

cm

ma ’ i yab las bla mar ’ gyur pa ’ i sku drin can gzhig

rka ba mdo

“From

……don ’byed

pa zhang tshang ’ od lags ”

Lama comes who is possessed of the greatest kindness … who fulfills his purpose and who belongs to the Z hang clan .”

A to

the father of the

lama or religoius personage who dedicated himself

Lama Zhang (1122-93AD), Tibet Tsalpa Kagyu

sect

“從喇嘛的父親那裡得到了最偉大的善良......達到了他的目標從祥派別(采巴噶舉派) ” 把自身獻給采巴·祥·尊哲札巴的 西藏采巴噶舉派喇嘛或宗教人士。

Krishna yamari 黑閻魔敵 15.7 “bla

x

20.5

cm

ma ’ i thugs dam / gshin rje mthar byed ”

“This He

is the

Lama’s

personal deity ,

who brings things to completion .”

“喇嘛的自修黑閻魔敵， 把事情變得徹底完美的祂 ”

(L) Krishna Yamari (R) Bronze

figure of

painting from

Krishna Yamari

Shelley & Donald Rubin

from

Dr. Phillip

and

collection ,

Compare 參照 HAR no. 1043

Patricia Adams Collection, Australia

(左)雪萊和唐納德魯賓私人收藏黑威羅瓦金剛唐卡, HAR 編號1043 (右) 澳洲菲利普和帕特里夏亞當斯醫生夫婦收藏

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一套五幅采巴噶舉派 采巴·祥·尊哲札巴 ( 1122-1193AD ) 門徒的繪畫 西藏中部，十三世紀

Buddha 佛佗 23 “thugs

“This

x

20.5

cm

dam lags so ”

is ( the lama ’ s ) personal deity .”

“喇嘛的自修佛佗 ”

Lama-siddha & his 喇嘛悉達和弟子 15.7 “bla

x

20.5

disciple

cm

ma grub thob mngon shes rig pa mnga ba

lnga ’ i bdam ngag thugs phyung ba sras tshos kyi bla ma la gdam ngag rnang pa bla ma zhang

’dron “To

la sprul sku rig rog spu lags so ”

this

Lama-Siddha,

who is master of the fivefold

teachings of super perception and profound knowledge and who ( also ) draws these ( same ) attributes out of his own disciples , this

Lama

is certainly the rebirth of the

field ( rnang ) of oral teachings of

Lama Zhang

himself !”

“這位有超凡感知和深厚知識的喇嘛-成就者，有能充分發掘第子們的天賦的教導， 這位喇嘛肯定是轉世的采巴·祥·尊哲札巴 (采巴噶舉派創始人)！”

Prajnaparamita 般若波羅蜜多菩薩 15.5

x

16

cm

“bla ma’i thugs dam/ yum chen mo lags so” “This is the Lama’s personal deity. The Great Mother”.

“Perfection of Wisdom”. Holding sutra and vajra. “喇嘛的自修菩蕯， ‘偉大的母親’般若波羅蜜多菩薩 ”

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06 G anesh

Nepal, 18th century Bronze 9.5 cm h

象頭神 尼泊爾，十八世紀 銅 9.5 公分 高

P r ov e na n c e Gerry and Pamela Virtue collection, Australia 來源 澳洲霍崔夫婦六十年代收藏

since

1960s

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07 V ishnu , L akshmi & G aruda

India, 10th century Bronze 24.5 cm h

毗濕奴、拉克希米 與大鵬金剛鳥 印度，十世紀 銅 24.5 公分 高

Gerry

and

Pamela Virtue

P r ov e na n c e collection , A ustralia since 1960 s 來源 澳洲霍崔夫婦六十年代收藏

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08 S tory

of

M ilarepa

thangka

Dolpo Southern Tibet, late 16-early 17th Cloth, 94.5 x 61 cm 160 x 95 cm with original border

century

密勒日巴唐卡 多普西藏南部，十六世紀晚期至十七世紀早期 綿布 94.5 x 61 公分 160 x 95 公分 連原布框 P r ov e na n c e Gerry and Pamela Virtue collection, Australia 來源 澳洲霍崔夫婦六十年代收藏

since

1960s

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09 D alai L ama

thangka

Tibet, Early 19th century Cloth, 62 x 45 cm

達賴喇嘛唐卡 西藏，十九世紀早期 綿布 62 x 45 公分

Gerry

and

Pamela Virtue

P r ov e na n c e collection , A ustralia since 1960 s 來源 澳洲霍崔夫婦六十年代收藏

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10 Y ama

Nepal, 19th century Copper alloy, 25.2 cm

h

閻魔 尼泊爾，十九世紀 紅銅合金 25.2 公分 高

P r ov e na n c e Gerry and Pamela Virtue collection Australia since 1960s 來源 澳洲霍崔夫婦六十年代收藏

11 A gni

India 11-12th century Stone 14 cm h

阿耆尼火神 (火天) 印度，十一至十二世紀 黑石 14 公分 高

Gerry

P r ov e na n c e Pamela Virtue collection Australia since 1960s 來源 澳洲霍崔夫婦六十年代收藏

and

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12 G au

P admasambhava

with

Terra-cotta, Silver

with

Tibet, 19th century gold , 7.8 x 7.8 x 4.3 cm

蓮花生大師嘎烏 西藏，十九世紀 燒陶、銀和金 7.8 x 7.8 x 4.3 公分

P r ov e na n c e Gerry

Gau,

Pamela Virtue collection Australia since 1960s 來源 澳洲霍崔夫婦六十年代收藏

and

a portable small shrine box made in silver for travelling

Buddhist

practioners .

The front cover is decorated with the eight auspicious emblems Ashtamangala in gold. Inside the box kept a small black figure of Guru Padmasambhava.

嘎烏是小型便㩗式藏傳佛教佛龕。這銀製嘎烏造功精細，鎏金特顯八寶吉 祥物，非常精美。佛龕內有一泥塑蓮花生大士造像。

13 B lack J ambhala

Tibet, 18th century Stone 7.8 cm h

黑財神 西藏，十八世紀 石 7.8 公分 高

P r ov e na n c e Gerry and Pamela Virtue collection Australia since 1960s 來源 澳洲霍崔夫婦六十年代收藏

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14 S orcerer ’ s

seed - strewing horn

Tibet, 18-19th century Horn 16.5 cm h

祭儀法角 西藏，十八至十九世紀 角 16.5 公分 高

P r ov e na n c e Gerry and Pamela Virtue collection, Australia 來源 澳洲霍崔夫婦六十年代收藏 A

beautiful ritual animal horn carved with

since

Makara

1960s

head , stupa , snakes , turtle , lotus

pattern and with seeds kept inside .

不多見的角雕法器。魔羯魚形狀身上有佛塔、龜和雙蛇互纏圖案，非常難得。造型古 樸，法器皮殻反映長期使用。更難得的是鑲有松石和硨磲半寶石，凸顯此法具的珍貴。

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15 S tupas T satsa Terra-cotta

and

Tibet, 17-18th century wood , 35 x 28.5 x 4 cm

佛塔擦擦 西藏，十七至十八世紀 燒陶和木，35 x 28.5 x 4 公分

P r ov e na n c e Christie’s New York auction, 21 Sept 2005. Lot 187. 來源 佳士得紐約拍賣，2005年9月21日。拍品187。 Nine

stupas within niches molded into a wooden trefoil frame in various registers , centered

by a triad of

Shadaksari, Manjusri

and

Vajrapani.

壁龕內的九個佛塔被塑造成各種寄存器中的木製三葉框架，由四臂觀音，文殊菩薩和金 剛手菩薩三人組成。

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16 K apala

Tibet, 17th century or later Skull, 17.3 x 13 x 7 cm

嘎巴拉碗 西藏，十七世紀或更晚 頭骨 ，17.3 x 13 x 7 公分

P r ov e na n c e Italian private collection 來源 意大利私人收藏 An

Kapala, human skull “Bam Hum Dza” chanting words are painted outside on the rim and a word “B am ” painted inside the skull bowl . unusual painted and inscribed

bowl .

Good

Buddhist

ritual - used

condition , a small chip on the rim .

A

repeated

嘎巴拉碗，又稱人頭骨碗，是佛教法事用具。這彩繪嘎巴拉碗不常見。重 複藏文誦經念佛“Bam Hum Dza”，碗內亦畫藏文“Bam”單字。整體狀況良 好，碗邊有一小缺。

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17 V ajra

and

T iger Iron

pattern box

Tibet, 13th century with gold inlaid , 16.3 cm L Wood, 20 x 9 x 10 cm

金剛杵 西藏，十三世紀 鐵鑲金，16.3 公分 長 木，20 x 9 x 10 公分

P r ov e na n c e European

private collection

來源 歐洲私人收藏 An

unusual five - pronged iron vajra

“thunderbolt”

with eight mythical beast

faces shown in the middle , and an old rope attached to one end .

Most

gold

on the surface is now lost due to handling. Vajras are ritual weapons commonly used in

Tibet

by high lamas .

非常特別的五杵鐵金剛杵。杵中央有八個狩頭，更是罕見。大部分鎏金已 經遺失，反映多年法事法器，應是上師之物。

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18 V ishnu

Eastern India, Gupta period (320 - 550 AD)* Terra-cotta 37.5 cm h

毗濕奴 印度東部，笈多王朝 (公元320 - 550年)* 燒陶 37.5 公分 高

P r ov e na n c e French Private Collection 來源 法國私人收藏 Vishnu,

Preserver of the Dharma and the Protector of the universe, is Hindu God in India. His stylistic hair and distinctive facial features reflect the early I ndian G upta style . H e has four arms , two of which are missing and the remaining two hold a mace and chakra disc . the

a highly worshipped

毗濕奴，萬物守護神，是印度教最受歡迎的三大神之一。他特有的面譜 和髮式反映早期印度笈多王朝風格。四臂中巳遺失雙手，保存的雙手拿 著釘錘和法輪法器。

*O xford A uthentication thermoluminescence *牛津認證熱釋光分析測試編號: C114D89

analysis test no .:

C114D89

Reference Masterpieces from Bangladeshi Museums, by Vincent Lefèvre, Editions De La Reunion Des Musées Nationaux, 2008. no. 19 Visnu

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19 U mamaheshvara Nepal 17-18th century Wood 63 cm h

濕婆和帕爾瓦蒂 尼泊爾 十七至十八世紀 木 63 公分 高

P r ov e na n c e Swiss Private Collection 來源 瑞士私人收藏 A wood-carved sculpture depicting a harmonious theme of the four-armed God Shiva and his wife Parvati accompanied by their two beloved sons: Kartikeya and G anesh on their sides . A row of four protective deities is seated gracefully in meditation pose at the bottom register . B ehind is a beautiful architectural structure of an open work door guarded by the mythical beast , Z eeba at the apex, bitting the naga (snake). Two hybrid creatures — Makaras flanked on the sides atop the pillars . T his wooden statue is crafted in one piece . T races of red pigment show evidence of this statue once worshipped in N epal . 這座巨大的神壇顯示四臂濕婆神和他的妻子帕瓦蒂。他們的兩位兒子：卡 爾提克亞和象頭神坐在兩邊。下邊坐着四位護衛者。濕婆神背後有一拱型 建築，頂部雕有立體威武神獸，兩旁伴有對稱魔羯魚。此像雕功精細，線 條優雅，比例均衡，是尼泊爾藝術精品。殘留色彩顯示此造像曾受信徒多 年膜拜。

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44

Benny Rustenburg Collection, Netherlands Early 1970s-1983 班尼 · 勒斯滕堡荷蘭1970年代早期-1983年收藏

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20 M ahasiddha D hahuli “T he Southern Tibet or Mustang, 16th Wood 36.5 cm h

rope maker ”

century

大成就者達呼利巴 “編繩者” 西藏南部或木斯塘王國 十六世紀 木 36.5 公分 高

P r ov e na n c e Benny Rustenburg Collection, Netherlands Early 1970s - 1983 German Private Collection 1980s - 2010s 來源 班尼 · 勒斯滕堡荷蘭1970年代早期-1983年收藏 德國1980年代 - 2010年代私人收藏 Dhahuli,

the

”rope-maker”,

is one of the eighty - four mahasiddhas

- Indian

masters who reached spiritual perfection through meditation and yoga in

Vajrayana Buddhism. The

two fingers on his right hand point to the sky , a

mudra which signifies expelling demons and negative energy . holds a rope which he made with grass . unique .

The condition .

The

His

left hand

facial expression is strong and

figure is crafted in a single piece of wood and kept in great

達胡利是印度八十四位大成就者之一。右手高舉結驅逐手印，指向天空 左手下垂拿著用草編成的繩索。造型活潑，面相威嚴有力，顯現雕塑家 的功力。

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21 V ajrapani

Southern Tibet or Mustang, 16th Wood 38.8 cm h

century

金剛手菩薩 西藏南部或木斯塘王國 十六世紀 木 38.8 公分 高

P r ov e na n c e Benny Rustenburg Collection, Netherlands Early 1970s - 1983 German Private Collection 1980s - 2010s 來源 班尼 · 勒斯滕堡荷蘭1970年代早期-1983年收藏 德國1980年代 - 2010年代私人收藏 Vajrapani

is an important wrathful meditation deity and one of the main

Vajrayana Buddhism. He is the “Vajra Holder” and the “Lord Secrets”. H is iconographical features including the vajra in his right hand , the snake surrounding his belly , the corpse trampling under his feet protectors in of

and the tiger skin wrapping around his shoulders are all vividly expressed in the sculpture .A nother intricate detail of this statue is the tiger head with bulging eyes and open mouth protruded from his right armpit .

The

sculpture

is in good condition except for a missing finger on his left hand in the expelling mudra and some minor chips on the toes and fingers .

The Vajrapani is finished

in one solid piece of wood .

金剛手菩薩，是金剛乘佛教的主要護法。此雕塑呈現護法一面二臂三 目。右手怒拳高舉金剛杵，左手示威懾手印置胸前。背披虎皮，虎頭伸 右胸旁，非常有趣少見。身戴蛇型瓔珞。左腿伸、右腿弓，呈展姿，威 立於異教神上，造型生動威武，顯示其護持佛法之神力。手指和腳趾有 微缺，整體品相保存難得。

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22 N arayana

Nepal, 1723 AD Gilt copper 52 cm

h

納拉亞納 尼泊爾，公元1723年 鎏金紅銅合金 52 公分 高

P r ov e na n c e Hong Kong Private

collection

來源 香港私人收藏 Inscription [Nepalese] era 843 [1723 AD], at the start of the waning half of Shravana, a tuesday, day , V irabhadrasingh , K acchapa D hanavantasingh had [ this ] N arayana statue made .

this

銘文 [尼泊爾] 843年時代 [即公元1723年]，在二十七宿之二十二宿 [摩羯座]沙羅波那減弱的一 半開始，星期二的這一天，[膜拜者] Virabhadrasingh 和 Kacchapa Dhanavantasingh 鑄造 了[這個]納拉亞納雕像。 Vishnu, “The Preserver and Protector”, is one of the three main Hindu deities popular in India and Nepal. His is standing on a double lotus pedestal with an elaborate flaming halo behind him . A lotus flower , a mace , a conch , and a chakra disc are neatly arranged in his four extended arms .

This

is a relatively large and complete statue made in

artwork composes of three parts utilizing casting skill .

The

Newari’s

Nepal

from the

18th

century .

The

precise hand - hammered metal work and

back of the statue is rather simple and without gild .

毗濕奴，萬物守護者，是印度教三大神之一，在印度和尼泊爾都很受歡迎。此造像是不 常見的尼泊爾銅鎏金毗濕奴神像，體型較大，保存完整背光。這造像結合了尼泊爾工匠 鑄造和精確的錘鍱技術：條條優雅流暢，布局完美四手分別拿著代表毗濕奴的法器：蓮 花、法錘、海螺和法輪。蓮花座上刻有銘文，說明年代是公元1723年。造像背後沒有鎏 金，是尼泊爾造像當代的典型。 Translation was provided Studies, Singapore.

by

Dr Iain Sinclair, The Yusof Ishak Institute

翻譯由新加坡尤索夫伊薩東南亞研究院伊恩辛克萊博士提供。

of

Southeast Asian

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52

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This sacred jar of Bhairava represents the wrathful form of Lord Shiva, the National God in Nepal. The pot was commissioned during the Malla period specially for annual celebration by the mass in the K athmandu V alley in N epal . D uring the festival , the jar would be filled with sanctified beer . T he beverage spurted out from mouth of the B hairava between his front teeth . B oth H indu and B uddhist practitioners would receive the blessings by drinking the beer . I t represents an auspicious and significant offering to L ord S hiva .

This is an extremely rare and early extant example preserved in marvelous condition. The Jar is made in one piece in terracotta and painted with deep and vivid color pigments. This Bhairava has three bulging and ferocious looking eyes . H is forehead has one peaceful looking S hiva head flanked with four smiling nagas ( snakes ) and four skulls . T here is no noticable damage nor repair , except the missing earrings . 陪臚，尼泊爾民族濕婆神的忿怒相。在尼泊爾馬拉皇朝十三世紀特別為加德滿都谷地的 慶祝節日而建造。在節日期間罐子盛滿了受過祝福的飲料，從牙縫中流出，讓民眾（印 度教徒和佛教徒）獲得祝福和庇護。 這是一個非常罕見的早期器皿更難得的是品相接近完美毗濕奴三隻凸起來眼睛，沒有令 人生畏的感覺。前額上有一慈悲面譜，旁邊有四個納迦（蛇神）和四個骷髏頭，顯示毗 濕奴的威嚴和慈悲，令人喜歡。保存面上色彩，當是歷年慶典時不斷添加。除了遺失耳 環裝飾，此器皿沒有明顯損壞或修復，是難能可貴珍品。

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23 R are B hairava S acred B eer J ar Nepal Kathmandu, Early Malla 13th Terra-cotta 46 x 51 x 36cm

century *

罕見的陪臚聖酒缸 尼泊爾加德滿都，馬拉皇朝早期 十三世紀* 燒陶 46 x 51 x 36 公分

P r ov e na n c e Godwin collection, Seattle USA since 1980s 來源 美國西雅圖戈德溫先生八十年代收藏

*QED Laboratoire Test No. QED1250/FC-0701 *QED 實驗室測試編號 QED1250/FC-0701

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24 B hairava M ask Nepal 17th century Terra-cotta 38.5 cm

h

陪臚面譜 尼泊爾 十七世紀 燒陶 38.5 公分 高

P r ov e na n c e Private UK Collection Since 1970s 來源 英國七十年代私人收藏 This is another example of a terra-cotta Bhairava ritual sculpture. It is important as it represents G od S hiva , the N ational G od in N epal , in its wrathful form .

The vessel that was used for the annual festival was either damaged or missing, what remains is only the frontal mask structure of B hairava . Y et , it is still a precious spiritual sculpture to both the H indu and B uddhist practitioners . 十七世紀製造的陪臚，呈現尼泊爾濕婆神忿怒相的器皿，但面譜後的容器 巳失掉。這器皿是特別為加德滿都盆地慶祝節日建造。在節日期間，罐子 盛滿著祝褔過的飲料，讓信徒分享，獲得祝福和庇護。 此像怒髮衝冠，睜目露齒，令人生畏。前額頂上刻有慈顏戴冠神面譜，具 有尼泊爾當代造型。左右兩旁各有蛇神和骷髏頭，生動有趣，生色不少。

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25 M ahasiddha M ahila “T he B raggart ” Tibet, late 19th century Paper, 68 x 48 cm

大成就者馬嘻拉巴“狂妄自大者 ” 西藏，十九世紀晚期 紙，68 x 48 公分

P r ov e na n c e Netherlands Private Collection I n s c r ipti o n “Glory to Mahila“ This beautiful set of two large and relatively late paintings Indian yogis who became Mahasiddhas by realization and Vajrayana Buddhism.

來源 荷蘭私人收藏 銘文 “榮耀歸於馬嘻拉巴” portray two of the eighty - four practicing toward the path of

One of them is identified as Mahila “The Braggart” from Magadha, southern Bihar, India.

He purified his own arrogance and showed his followers to the path to obtain siddhi. The other one is K anhapa /K rsnacharya “T he D ark M aster ” or the “D ark - skinned O ne ”, from Southern part of India. He has magical power to order the seven damaru skull drums and canopies to float and to make sounds in the air .

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26 M ahasiddha K anhapa “T he D ark M aster ” Tibet,

late 19 th century Paper, 68 x 48 cm

大成就者岡那巴“黑暗大師 ” 西藏，十九世紀晚期 紙，68 x 48 公分

來源 荷蘭私人收藏 銘文 “榮耀歸於岡那巴“

P r ov e na n c e Netherlands Private Collection I n s c r ipti o n “Glory to Krsnacharya“

這對唐卡描繪八十四位大成就者的其中兩位。第一位來自印度比哈爾邦南部馬加達的大 成就者馬喜拉巴外號“狂妄自大者 ”。他放下自己的傲慢自我，向追隨者展示了修成正 果的道路。另一位來自印度南部的大成就者岡那巴外號「黑暗大師」或「黑皮大師」。 他為了展示自己的玄通力量，令七個骷髏鼓和七個簷蓬漂浮於空中。這兩張唐卡顯然受 到西藏東部畫風影響：畫中有明顯留白的地方。 Reference Taranatha, and David Templeman. Taranatha’s Life betan W orks and A rchives , 1989.

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Reference 《簡明净土宗詞典》（林克智编著） Lafugie, Lea. “The National Geographic Magazine.” 1949, “Buddhist Book Illuminations”,

by

Pratapaditya Pal

pp .

and J ulia

658–692.

Meech, Ravi Kumar, 1988.

“Masterpieces from Bangladeshi Museums”, by Vincent Lefèvre, Editions De La Reunion Des Musées Nationaux, 2008. no. 19 Visnu Lerner, Martin, and Steven M. Kossak. “The Lotus Transcendent: Indian and Southeast Asian Art from the Samuel Eilenberg Collection.” Metropolitan Museum of Art, 1991.

Taranatha, and David Templeman. Taranatha’s Life betan W orks and A rchives , 1989.

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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 978-988-15327-6-3 in Hong Kong Front cover: (cat-05, p.24-26) First page: (cat-05, p.26) Back cover: (cat-05, p.27)

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

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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All Rights Reserved

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