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Exhibiting at International Antiques Fair Hong Kong Convention and Exhibition Centre- Hall 5G Booth C3 28th- 30th May, 2012 11:00am- 7:00pm

展於 國際古玩展

Hollywood Galleries 173 Hollywood Road, Hong Kong

香港會議展覽中心 展覽廳5G 號位 C3

Hon Lau Ellen Ho Andrew Lau telephone: (852) 2559-8688 fax: (852) 2803-7273 e-mail: hollywoodgalleries@gmail.com website: hollywood-galleries.com ISBN: 978-988-15327-2-5

2012年5月28日至30日 上午11時至晚上7時 東寶齋 香港荷李活道173號 劉惠漢 何杏根 劉俊揚 電話: (852) 2559-8688 傳真: (852) 2803-7273 電郵: hollywoodgalleries@gmail.com 網址: hollywood-galleries.com ISBN: 978-988-15327-2-5


Ying Har Tang Collection II Indian & SouthEast Asian Art

Abhaya Mudra

英 霞 堂 2 施 無 畏 印

東寶齋 Hollywood Galleries


To our family, friends, collectors — May Peace, Protection, Fearlessness be with you always, as embodied in the Mudra of Abhaya.

施無畏印 能施一切眾生 平靜 安心 無畏


Hollywood Galleries Established since 1985, Hollywood Galleries is specializing in antique Buddhist sculptures and paintings from China, India, Tibet, Nepal and Southeast Asia.

東寶齋 創業於一九八五年。 主要經營古董藝術品包括來自中國,印度,西藏, 尼泊爾和東南亞地區的佛像雕塑和佛畫。

Hon Lau Ellen Ho Andrew Lau

劉惠漢 何杏根 劉俊揚

2007-2012 2007.5.24-28 Asia International Arts & Antiques Fair. 2007 AsiaWorld-Expo. Hong Kong 亞洲國際藝術古董展2007香港亞洲國際博覽會 2009.6.12-14 International Antiques & Art Expo 2009, Taiyuan, Shanxi 國際古玩藝術博覽2009山西太原 2009.12.5-7

International Antiques & Art Expo 2009, Songshan Lake, Dongguan 國際古玩藝術博覽2009東莞松山湖

2010.7.9-8.9

Buddhist Statuary in Transition: An Exhibition of gold & bronze statu ettes. Forum Art Museum, Dongguan 妙相梵音: 中國古代佛教藝術展. 東莞旗峰山藝術博物館

2010.7.16-18 International Antiques & Art Expo 2010, Taiyuan, Shanxi 國際古玩藝術博覽2010山西太原 2010.10.21-25 The 2nd Beijing International China Cultural Artifacts Fair 第二屆中國文物藝術品國際博覽會, 北京國際會展中心 2011.5.28-30 International Antiques & Art Expo 2011. Asia World Expo. Hong Kong 國際古玩藝術博覽2011香港亞洲國際博覽會 2011.9.27-10.1 第五屆海外回流文物展, 西安大唐西市國際古玩城


Style of art We are honoured and delighted to present Part II of the Ying Har Tang collection — Abhaya Mudra.We have had the pleasure of working with the owners of Ying Har Tang on their exquisite collection of Buddhist Works of Art since the 1990s. Having kept their collection for over twenty years, the owners have graciously decided to share their treasured possession with other collectors. They believe, in some ways, we should all be temporary owners of these valuable art pieces. These carefully selected pieces range from gilt bronzes to stone sculptures and some distemper on silk and cloth .Spanning from the 11th to the 19th century, these exhibits originated from China,India, the Himalayas and Southeast Asia.They were especially chosen to represent the skilled expertise and deep knowledge of the artists in Buddhist Art. We sincerely hope this catalogue will help deepen your appreciation of the exquisite beauty of sculptures and paintings from different parts of Asia, at the same time helping to spread the wisdom and compassion that Buddhist Art exudes. We would like to express our deep gratitude to the owners of Ying Har Tang. Without their trust in us and our shared love for precious and unique works of art, this collection would not have been possible. We look forward to many more collaboration ahead.

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«英霞堂»— 佛教藝術第二部施無畏印。 其收藏包含由九十年代早期

起,從不同國地, 有緣地搜羅多件佛教藝術的古代珍品。 我們謹藉著這次難得 的機會, 希望可以在向大家展示«英霞堂»收藏多年的珍品的同時, 更可以分 享收藏家心中的喜悅。

佛教自公元前五百多年釋迦牟尼誕生後, 其廣大的信眾們透過供奉或

贊助形式, 配合不同地區文化、 藝術和傳統背境下, 創立二千多年輝煌歷史 及獨特的文化色彩, 其影響一直從印度, 尼泊爾等地傳至中國, 西藏, 及東南 亞。 不但對後世影響深遠, 以無我的信念帶出慈悲、 寬容和智慧外, 佛教藝術 亦得以發揚光大。

這次挑選了«英霞堂»藏品中以銅鎏金、 黃銅、 石、 絹本刺繡 、 布帛及

礦彩所塑成共四十多件的珍品在大家眼前展現。 藉此, 希望我們可以用心欣 賞的同時,也能感受古時工藝師追求完美的氣概。

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AM-01

Vajrasattva 金剛薩埵 Bronze, cold gold, mineral pigments 銅, 泥金, 礦彩

India,Pala Dynasty 東北印度,派拉皇朝 12th c / 十二世紀 Height: 12.5cm / 公分高

Vajrasattva is depicted seated in lalitasana pose on a royal throne over a two-tier lotus pedestal, his back supporting a flaming aureole surmounted a parasol. He wears a 3-pointed crown with tiny effigies of the five Tathagata Buddhas:one on each crest, the fourth one centered in the chignon and the fifth one behind the back; a rare portrayal of the Buddhist iconography. His left hand on his lap and right hand holds the vajra in upright position. Dotted rosette adorned His diaphanous dhoti, an indication of the early Pala style. 金剛薩埵 以半跏趺坐姿於雙層蓮花座上,背後有一火焰形背光,頭戴三佛寶冠,第四和第五佛分別位於高 髮髻前後,合共五方如來佛,造型獨特。左手握拳置於大腿上,右手持金剛杵於胸前,穿透薄纙 衣。

陳百忠. 寂靜與忿怒. 2004年. 台北: 六和文化事業股份有限公司. 頁258 號165 藏西相同年代作品

Provenance: Acquired in 1990.

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Uhlig, Helmut. On the Path to Enlightenment: The Berti Aschmann Foundation of Tibetan Art at the Museum Rietberg Zurich. 1995, p. 58, no. 19. Primordial Buddha Vajrasattva

Christie’s, Indian & SE Asian Art. N.Y. Sept 21, 2007. No. 102, Padmapani, Northeastern India, Pala period 13th C., 12.3cm High.


Actual size/ 實物大小

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AM-02

Avalokitesvara 觀音菩薩 Gilt copper alloy 銅鎏金

Central Tibet 西藏中部 11th c / 十一世紀 Height: 43.5cm / 公分高

Avalokitesvara the “All-Pitying One”, is the most popular divinity in the Mahayana Buddhist Pantheon. Standing in tribhanga on a round disc, his right hand in varadamudra incised with a dharma wheel on the palm, his left hand holds the stem of the blue lotus in full blossom. His pensive face radiates with tranquility and compassion. A crest incised with his spiritual father Amitabha image forms the central foliage in his tiara flanked by leaf motifs and swaying ribbons. He is sensuously modeled with a broad, squarish face, heavily-lidded eyes ,thick lower lip and a raised rhomboid urna on his forehead. He is clad in a diaphanous robe with subtle lines and a dhoti with a star pattern. Pearls adorned the cascaded necklaces, the armlets and the dhoti. Gilding is confined to the front of the sculpture only,typical of the early Central Tibetan bronzes. 觀音菩薩 大乘佛法中最受眾信擁戴之菩薩,本尊菩薩呈三折枝,以優美姿態站於一圓碟上。右手下垂,掌 心向外成施願印。掌上有一法輪圖案,左手持蓮枝托一盛開蓮花。面容慈悲,頭戴三葉寶冠,冠中 央置阿彌陀佛像。 身配瓔珞、珠寶、釧飾,耳佩大環, 身披薄衣貼體,非常特別,腰束寶石扣帶,古 樸華麗。鎏金只在正面,屬早期西藏風格。

Schroeder, Ulrich von, Buddhist Sculptures in Tibet, Vol. II, pp.10241025, no.252D-F, Standing Manjusri, gilt bronze, 12th C, 59.5cm H.

Schroeder, Ulrich von, Buddhist Sculptures in Tibet, Vol. II. Tibet & China, 2001, Hong Kong: Visual Dharma Publication Ltd, pp.1022-1023, no.251E: Avalokitesvara Padmapani, Tibetan Monastic Period, 11th C. ,32.2cm H.

Provenance: New York private collection before 1998.

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Schroeder, Ulrich von, Buddhist Sculptures in Tibet, Vol. II. Tibet & China, 2001, Hong Kong: Visual Dharma Publication Ltd, pp.1022-1023, no.251A: Avalokitesvara 11-12th C.

Christie’s, Indian & Southeast Asian Art, N.Y., Sept 21st, 2007. No.169: gilt copper, Padmapani, Nepal, 9-10th C, 35.6cm H.


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AM-03

set of 4 Buddha Bhaisajyaguru (Meddicine) 四幅藥師如來佛 Distemper on cloth / 棉布彩繪 Tibet / 西藏 14th c / 十四世紀 20.3- 21 x 16cm / 公分高

Buddha Bhaisajyaguru An exquisite set of paintings representing four of a complete group of eight Buddha Bhaisajyaguru paintings .These paintings displayed the Bhaisajyaguru mandala placed on beams of temple interior or a shrine of a Medicine Buddha. The four Buddha Bhaisajyaguru are identified as follows: 1)Suparikirtitanamashri, body in gold color, right hand in abhaya, left hand in dhyana mudra 2)Svaraghosa, body in yellow color, right hand in varada, left hand in dhyana mudra.  3)Bhisajyaguru vaiduryaprabharaja, body in blue,right hand holds the healing fruit-myrobalan, left hand in dhyana, holds the bowl of amrt.  4)Buddha Shrijing Sakyamuni, body in golden color, plays the role of ‘Supreme Healer’ or “The King of Medicine”, right hand in bhumisparsa, left hand in dhyana mudra. Each seated on a lotus throne flanked by two Arhats within an arched shrine, clads in elaborate monastic robe, sheltered from a canopy in gold cloud motifs, red background with scrolling foliage, a Bodhi tree rising from back and above the shrine. Two Buddhas in circular niches decorated the top corners of the paintings. Reverse with inscriptions for each figure and the symbols ‘Ohm a hum” and bottom marks the direction for the placement of the paintings. A set of four medicine paintings appeared in Christie’s New York,March,2000,belongs to the same set, complete the mandala of the eight medicine Buddha paintings.    藥師如來佛 原屬八張藥師如來佛其中四張. 1.「北方如來金色寶光妙行成就如來」, 金身。右手結無畏印, 左手心向上橫置腹前。 2.「北方如來寶月智嚴光音自在王如來」, 黃身。右手結與願印, 左手心向上橫置腹前。 3.「 藥師琉璃光如來 」, 藍身。右手拿仙藥果結施願印, 左手心向上橫置腹前。 4.「釋迦牟尼如來」, 金身。 藥師如來佛之首, 具一切功德。右手結觸地印, 左手心向上橫置腹 前。 四藥師如來都由兩位羅漢伴隨,站於非常特別雙層蓮花(西藏白居寺內壁畫相似),身穿華麗禪 衣, 坐於佛龕內,飾以雲彩華蓋,龕上有一菩提樹。 左右角上各有一佛。畫唐卡背後有藏文銘文。 另外四幅藥師如來, 曾出現於2000年5月紐約佳士得印度東南亞拍賣 (編號129)。

Provenance: American west coast private collection

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Suparikirtitanamashri

北方如來金色寶光妙行成就如來

藥師琉璃光如來 Bhisajyaguru vaiduryaprabharaja

Svaraghosa

北方如來寶月智嚴光音自在王如來

釋迦牟尼如來 Buddha Shrijing Sakyamuni

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Actual size/ 實物大小

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Sotheby’s, the Jucker Collection of Himalayan Paintings, March 28, 2006, New York, no. 60: Ratnasambhava with Arhats; No. 61 :Akshobhya with Arhats; No. 62: Bhaishajyaguru with Arhats.

Christie’s Indian & SE Asian Art, New York, March 22, 2000, No. 129: A set of Four Medicine Buddha Thangka, Tibet, circa 14th C. ,each 21.5 x 15.8 cm. These 4 small thangkas are probably forming the complete set of Bhaisajyaguru.

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AM-04

White Jambhala 白財神 Gilt Bronze,mineral pigments 銅鎏金 礦彩

Tibeto-Chinese 中土藏式 18th c/ 十八世紀 Height: 15.5cm / 公分高

White Jambhala sits on his vehicle, the dragon who turns its head in vigor towards his master in a scowling expression. To demonstrate his sovereignty and power, Jambhala, in his bearded face, gazes at the dragon with bulbous eyes, fierce brows and his hair glowing in upright flames. He is clad in a billowing dhoti with a knotted ribbon below his belly and his torso adorned with festoons and jewelry. A dynamic mood is achieved with his moving hand gestures, the dramatic curls of the ribbon behind his head swaying over his shoulders and the dragon in a dancing motion. The beneficence of White Jambhala is to accumulate wealth’s to cure disease. 白財神 騎龍威武, 雙目圓睜, 頭戴五葉冠, 焰髮上冲, 嘴角上翹, 面露微笑。 上身赤裸, 下披長裙, 束腰帶。 身戴珠寶, 雙耳佩鏤空垂珠耳環, 巨龍生動回望財神。 衆生祈望 白財神增長財富和駆除疾病。

夏景春(編)般若之光: 夏景春藏佛鑒 賞. 2004年: 萬卷出版社,深圳. 頁 223號202

陳百忠. 寂靜與忿怒. 2004年. 六和 文化事業股份有限公司, 台北. 頁441 號279, 19世紀作品

Provenance: Thailand private collection in 1990s.

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Sotheby’s, Indian & Southeast Asian Art, sept 20, 2005, New York,p. 43, no. 45: Sita Jambhala, 18th C. ht. 18cm


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AM-05

Makara Head 摩羯 Gilt Bronze 銅鎏金

Yuan dynasty 元朝 14th c/ 十四世紀 23.8 x 15 x 13cm/公分

Makara the mythological sea creature is skillfully manifested with a short elephant snout, dragon head,closed mouth showing the fangs. His hair in flaming curls above his bulging eyes and along his jaws. The horns curled up encircle the flaring ears and dancing whiskers. A vivid presentation of a vigorous mythical beast.

摩羯 神話中的海獸 河神的座騎。以象 鼻、龍頭為特徵,異常威猛。火焰形 毛髮, 雙角捲曲藏於耳背, 觸鬚飄 逸, 眼神霸氣, 誠珍品。

Rossi & Rossi, Facing the music, Masks from the Himalayas, 2009, p. 40, no.8: A Makara mask in Paper mache.

Sotheby’s Indian & SE Asian Art, N.Y. June 4, 1994, No. 39: A Nepalese Bronze Water Spout, circa 18th C. Length 51.4cm.

Provenance: Acquired in 1990.

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Christie’s Indian & SE Asian Art, N.Y. Sept 14, 2010, No. 77: A gilt copper repousse head of Makara, 21cm high, Tibet, 16th C.

Komaroff, Linda & Carboni, Stefano, The Legacy of Genghis Khan: Courtly Art & Culture in Western Asia, 1256-1353, Metropolitan Museum of Art, New York,2002,p.27, fig.23: dragon’s head finial, jade, Yuan dynasty

Komaroff, Linda & Carboni, Stefano,The Legacy of Genghis Khan: Courtly Art & Culture in Western Asia, 1256-1353, Metropolitan Museum of Art, New York, 2002, p.26, fig.21:dragon protome, white marble, Yuan dynasty


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AM-06

Buddha Sakyamuni 釋迦牟尼佛 Bronze, lacquer gilding, mineral pigments 銅漆金 ,礦彩

Ayutthaya (1350-1767),Thailand 泰國 大城時代 17th c/ 十七世紀 112 X 87 X 51cm / 公分

Buddha Sakyamuni Seated in dhyansana on a ornate lotus pedestal over a stepped plinth with his left hand on his lap and his right hand in the earth- touching gesture signifying the conquer of Mara and his Enlightenment. His hair arranged in small, spiky curls surmountinga flaming finial. He is clad in monastic robe with a long pleat ends in fish-tail reaching his belly. The pedestal is elaborately decorated with a brocade flap in scrolling leaf and floral patterns. Arrays of small flames adorned the edges of each tier, representing an assembly of the thousand Buddhas. 釋迦牟尼佛 以全跏趺坐於華麗的蓮花台上, 左手施禪定印, 右手結觸地印, 代表佛陀降魔成道。 髮型特別, 尖塔型高髻, 髮頂成一火焰型尖頂裝飾,面容莊嚴慈悲, 非常難得。 肩搭帔帛, 身 披薄衣, 有一寬邊直垂至臍, 線條優美。 蓮台上有一花卉紋飾帶垂掛於前中央, 增添不少高貴 色彩。 蓮花座下另有兩層多角方座, 緣飾小火焰, 代表千佛凝聚, 構思巧妙, 造型優雅觸特。

Padungsiriseth, Suradej, Thai Collection: Association For the Propagation of Objects D’ Art of Thailand,1996, p.163, no.147 Sakyamuni Buddha, wood, 63cm H. Late Ayutthaya Style, 18th C.

Provenance: Thailand private collection in 1990.

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Hong Kong Museum of Art, Sculpture from Thailand, presented by the Urban Council, Hong Kong and the National Museum, Bangkok, 1982, p.179, no.45: Buddha subduing Mara, style of reign of Rama III, A.D. 1820’s, bronze, enamel, 49cm H., National Museum, Bangkok.


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AM-07

Vasudhara 財續佛母 (持世菩薩) Gilt Bronze 銅鎏金

Nepal 尼泊爾 17th c/ 十七世紀 Height: 12.2cm / 公分高

Vasudhara the giver of wealth, is the counterpart of the Hindu goddess Shri-Lakshmi.She sits in lalitasana the posture of royal ease on a separate cast lotus pedestal, her right feet rested on a kalasa. A 5-leaf diadem secured on her head, her chignon surmounted by a vajra. She is adorned with jewelry and dressed in a light dhoti. She has six arms featuring different mudras, some with auspicious emblems. Her first hand on the right displays the gesture of bountiful giving ,the second holds a sheath of jewels, the third in the gesture of paying homage to the Buddha. Her left hands holds the vase, the stalk of grain and the sutra “Perfection of Wisdom”. 財續佛母 原為印度教的財富女神, 後成為黃財神之妻。半跏趺坐於單層蓮座上, 右腳踏一寶瓶, 頭戴五葉 冠, 左三手施與願印, 持珠寶和禮佛手印, 左三手持寶瓶、穀穗和梵篋(經書), 蓮座背後有銘文。

Pal, P., Art of Nepal, Exhibition Catalogue, 1985, Los Angeles County Museum of Art & University of California Press, Berkeley,p. 126, no. S52: 18th C.

Provenance: American private collection before 2000.

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Christie’s, Indian & SE Asian Art, N.Y. March 22, 2011, no. 286: gilt copper Vasudhara, Nepal, 18th C., 17.4cm.


Actual size/ 實物大小

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AM-08

Vaisravana on Lion 北方多聞天王(財寶天王) Limestone 石灰岩

Tibet 西藏 Yuan Dynasty/ 元朝 Height 14.8cm/ 公分高

Vaisravana the protector of the Dharma and a benefactor of wealth is finely carved in limestone. He is depicted sitting on a recumbent lion on a lotus base, dressed in armor,fastened by a belt adorned with a double vajra, he grips the mongoose with his left hand forcing a sumptuous flow of jewels to spew from its mouth, such act exemplifies the scene of prosperity. His bulbous eyes demonstrate his vigor and affirmation for protection. His vehicle, the lion, has its peculiar curls of the mane resembling the stone lion located in front of the Tibetan King’s Tomb in Shannan, Southern Tibet. 北方多聞天王 專職護法, 手抓財寶鼠, 乃財富的象徵。 故多聞天王又名財寶天王。 身披戰袍, 面容飽滿, 雙目圓睜, 表示其護法的決心。 坐騎雄獅髮式與西藏山南藏王墓前獅子相近。

Casey, Jane; Ahuja, Naman Parmeshwar; Weldon, David, Divine Presence: Art of India & the Himalayas, 2003, pp.144-145, no. 46 :Stone Ucchusma Jambhala, Tibet,13th C.

Provenance: Acquired in 2000.

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Lee, Sherman E; Ho, WaiKam, Chinese Art Under the Mongols: The Yuan Dynasty (1279-1368), 1968, The Cleveland Museum of Art, p.7: Compare the facial expression of the guardian on the inside wall of the gate passage of the Cloud Terrance at Chu-yung-kuan, north of Peking, marble, dated 1342-1345

淅江省文物考古硏究所, 西 湖石窟, 1986年, 淅江人 民出版社, 杭州, 頁158, 159, 173

Sotheby’s, Indian & Southeast Asian Art, N.Y., Sept 16, 1999, Lot.84: a rare Tibetan polychrome andagu stone stele of Vaisravana, 13th/14th C., 22.9cm H


Actual size/ 實物大小

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AM-09

Vaisravana 財寶天王 Distemper on cloth 棉布彩繪

Mongolia 蒙古 18th c/ 十八世紀 61 x 43cm/ 公分

Vaisravana Vaisravana , the northern guardian and the god of wealth, is depicted sitting on a white snow lion inside the palace of his Pure Land. His half-naked body is festooned with jewelry tied with a red silk ribbon across his chest, he wears a voluminous dhoti with floral motifs. A mongoose on his left lap and his right hand holds the victorious banner. Buddha Sakyamuni sits at the middle of the top register,a male and a female Jambhala flanked the bottom register with an array of offerings . 財寶天王 又名北方多聞天王, 騎坐白雪獅在北方浄土圖像。 上身赤裸, 身載珠寶和紅絲帶, 下身穿花 紋袍,左手抱財寶鼠,右手持勝利幢。 財寶天王上方有釋迦佛, 下方左右各有男女財神和大量 珍寶。

Essen, Gerd-Wolfgang & Thingo, Tsering Tashi, Die Gotter des. Himalaya: Buddhistische Kunst Tibets, 1989, Munchen: Prestel- Verlag. Vol I, p.234-5, no. I-145: Vaisravana

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Brauen, Martin, The Dalai Lamas: a visual history, 2005, Chicago: Serindia Publications, Inc.,p. 214, no.211 :Vaisravana, Ethnographic Museum of the University of Zurich, lnc, no. 14415.


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AM-10

Buddha Sakyamuni 釋迦牟尼佛 Bronze inlaid copper 銅 鑲嵌 紅銅

West Tibet 西藏西部 15th c / 十五世紀 Height: 23cm / 公分高

Buddha Sakyamuni Seated in dhyansana with his hands in bhumisparsha, Buddha Sakyamuni is portrayed in his classical pose of Enlightenment. Garbed in a simple sanghati with hems incised with a wavy pattern inlaid with copper, a suave pleat draped over his left shoulder and a flat, curvilinear fold pattern rested under his feet. His pensive and charming mood are delicately conveyed on his face with his downcast eyes, bowshaped mouth ,pendulous pierced earlobes, long arching brows and raised urna on his forehead. A very close example of a15thC Buddha image with the unusual waist lotus pedestal and three beaded tiers are recorded in Ulrich Von Schroeder’s Indo-Tibetan Bronzes. 釋迦佛 全跏趺坐式, 右手下垂膝前, 掌心向內作觸地成道印, 左手結禪定印置於腹前。 佛身穿薄衣 鑲紅銅波浪紋飾。 面露慈悲, 蓮台座作三重緣飾聯珠紋, 造型獨特罕見。 Ulrich Von Schroeder : Indo-Tibetan  Bronzes 書中記錄下來極為相似的十五世紀銅釋迦造像。

Fundacion la Caixa, Monasterios y lamas del Tibet, 2000, Barcelona,p. 140, No. 87 :Buddha Shakyamuni

Provenance: Acquired in 1990.

30

Schroeder, Ulrich von, Indo- Tibetan Bronzes, 1981. Hong Kong: Visual Dharma Publications, Ltd.,p. 190, no. 39A: Sakyamuni, Western Tibet. 15th C., brass, 22cm, has cushion on top of double lotus base


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AM-11

Kurukulla 智行佛母 Copper alloy, cold gold, mineral pigments 銅,泥金,礦彩

Tibet 西藏 15th c/ 十五世紀 Height: 24cm / 公分高

Kurukulla also named as the Red Tara,is an important female manifestation of Amitabha. She is in dancing pose treading upon a human corpse on the moon disc above the lotus podium. A scrub shoots from the side reinforcing the balance of the sculpture. She is depicted with four arms representing love, compassion, joy and equanimity. She wears a tiger skin dhoti and a garland of fifty severed human heads over her. A five-skull diadem is set over her flaming curled hair. 智行佛母 又名紅度母。 無量壽佛女性化身。跳舞姿態優美, 足踏妖魔, 蓮旁有花枝。 四臂代表愛、慈 悲、喜悅與和諧。下身穿虎皮裙, 上身赤裸, 頭戴五骷髏冠, 身上繞掛五十顆人頭項鏈, 髮型 特別。

張守敬(編) 金剛佛像,天津市文物公司藏. 1998 年, 文物 出版社, 深圳, 頁58號65. 作明佛母像

Provenance: Acquired in 1995.

32

Getty, Alice, The Gods of Northern Buddhism, 1962. Tokyo : Charles E. Tuttle Co., pl. XLII a, b.


33


AM-12

Guhyasamaja 密集金剛 Gilt Bronze,mineral pigments 銅鎏金, 礦彩

Mongolia ,Dolonnor style 蒙古 多倫諾爾式 19th c/ 十九世紀 Height: 38cm / 公分高

Buddha Guhyasamaja the Lord of the Diamond, representing Body, Speech and Mind of the Tathagatas. He is portrayed with his consort, Spardhavajri, seated in vajra position, both with three faces and six arms. The two figures in union are painted in dark blue, with their right faces in white and left in red. With his principal hands, Guhyasamaja holds the vajra and ghanta- symbols of compassion and wisdom. His other hands hold different ritual implements: the wheel and the padma in the right and the khagta and a flaming jewel in the left. These implements together with the Buddha signify the five Dhyana Buddhas. 密集金剛 為"三時”諸佛的身、 語、 意, 三密聚集。 全跏趺坐, 擁抱”可觸金剛母”明妃, 各有三頭六 臂。 身有藍彩, 右面白彩, 左面紅彩. 主臂右手持金剛杵, 左手持金剛鈴, 表現慈悲與智慧。 其餘所持法器有法輪、 烏巴拉花、 寶劍和寶珠, 結合佛陀, 象徵五方佛如來。

夏景春(編)般若之光: 夏景春藏佛 鑒賞. 2004年深圳: 萬卷出版社, 頁 72-73號67 時輪金剛有相似礦彩.

Provenance: Acquired in 1999.

34

Brauen, Martin, The Dalai Lamas: a visual history, 2005,Chicago: Serindia Publications, Inc. ,p. 213, no. 209: Mahakala, copper sheet metal, polychromy, inner Mongolia, Ht: 4cm, W: 35cm, D: 14cm, Folkens Museum Etnografiska, Stockholm, Invoice no.: 1935. 50. 2345.

Sotheby’s Indian & SE Asian Art, NY. March 20, 2001, No. 134: Lhamo, gilt copper alloy with polychrome, ht. 27cm.


35


AM-13

Mahakala 大黑天 Distemper on cloth 棉布彩繪

Tibet 西藏 18th c/ 十八世紀 74.5 x 58cm/ 公分

Mahakala A dazzling black Thangka depiction of Mahakala. The main deity portrays the three-headed, six-armed Mahakala stepping in pratyalidhasana ,amidst a sea of flames surrounded by a host of beatific and emanations bodies; mostly ferocious deities who dance and ride through clouds, majority mounted on numerous sorts of animals including the blue dragon, dark horse ,green tiger, green horse; rahu and animal-headed dakinis .At the top register, the primal Buddha Samantabhadra Father-Mother flanked by Padmasambhava and a layman. The low portion shows the four Lokapalas and the northern guardian. His principal hands hold the danda and kalasa; his left two hands the human heart and staff; his right hands the phurba and vajra. 大黑天 一幅耀目的大黑天黑唐卡。 三頭六臂大黑天以戰鬥格式站立於火焰中, 圍繞著無數騎異獸 的護法。 大黑天主手拿金剛杵和嘎巴拉碗, 左二手拿人心和骷髏天杖, 右二手拿金剛橛和 金剛杵。 頂部中央見普賢如來雙修, 伴隨有蓮花生大師和一上師, 最下層有四大金剛。

Essen, Gerd-Wolfgang & Thingo, Tsering Tashi, Die Gotter des. Himalaya, 1989, Munchen: Prestel- Verlag. Vol I.,pp. 208-9, no. I-127: Bing- Mahakala.

Provenance: Acquired in 1999.

36

Rhie, Marylin M. & Thurman, Robert, A.F. ,Wisdom & Compassion, The Sacred Art of Tibet, 1996 Expanded edition. London: Thames & Hudson A) p. 431, no. 184 (59a): Mahakala. B) p. 435, no. 188 (59e): Vajrakila father-mother.

Sotheby’s, Indian & SE Asian Art, N.Y. Sept 22, 2000.,Lot 39: A fine blackground Tibetan thangka of Vajrabhairava 18th C. 63.5 by 40.6cm.


37


AM-14

Commemorative Stupa 長壽佛塔 Gilt Bronze 銅鎏金

Nepal 尼泊爾 19th c/ 十九世紀 Height: 11.5cm / 公分高

Commemorative Stupa A sensuous denote of a commemorative stupa commissioned at the Bhimaratha rite for long life. The donor is usually the offspring or relatives of the recipient when he or she reaches the age of 70 years, 7 months and 7 days. The miniature model is composed of a dome-shaped vase over a cascade of stepped, rectangular platform, centered by the diminutive Ushnishavijaya, the goddess of longevity,  in the niche. A figure,usually the person who benefits from the rite, rides on a chariot drawn by three horses is placed before the longevity-granting deity. Atop the dome is a spire flanked with festive streamers and a parasol of petals and foliate surmounting a jewel. The inscription around the base recorded the date of the Bhimaratha rite for long life, the name of the donor and the recipient whom the rite was dedicated to. 長壽佛塔 用於祈求長壽的祈福禮儀中。 供養人為父母或親人年紀達至七十歲, 另七個月和七天時 舉行。 佛塔覆砵形前有尊勝佛母造像, 代表長壽佛母。 塔下台階有一合掌人坐於三馬拉 車上, 代表受惠者。 造型獨特, 最低層台階四面有尼泊爾銘文。

Pal, P., Art of the Himalayas: Treasures from Nepal & Tibet, 1991, p. 66, no. 30: “commemorative Chaitya”.

Provenance: Acquired in 1995.

38

Pal, P., Art of Nepal, Exhibition Catalogue, 1985, Los Angeles County Museum of Art & University of California Press, Berkeley,p. 137, no. 566


Actual size/ 實物大小

39


AM-15

Mahabodhi Temple 摩訶菩提寺 Black stone 黑石

Bihar,India 印度, 比哈尓邦 12th c/ 十二世紀 Height: 12.5cm / 公分高

Mahabodhi Temple An early black stone model of Mahabodhi Temple, the holy Buddhist pilgrim site at Bodhgaya, in Bihar, eastern India. The portable temple commemorates the Buddhist’s Enlightenment at Bodh Gaya. It is fashioned as a rectangular architectural structure with a major tapering spire in the center of the upper terrace. At the four corners are diminutive spires but now missing. A Bodhi tree is erected on one side of the spire and an arched doorway on the opposite side. Niches with Buddhist standing figures flanked by poles decorate the bottom register of the spire. The main entrance marked with tall pillars and scrolling relief on cross beams housed the Buddhas and attendants in the frontal niches . An array of five Tathagata crowned Buddhas on the exterior walls complete the architectural model with finesse. 摩訶菩提寺 為紀念佛祖成道於菩提伽耶建成。 藝術家參照寺院以黑石雕成, 手工精細。 建築分底座、 大殿堂、 塔基、 塔身、 塔頂部份。 底座方形, 大殿堂中央有主要佛塔, 四角亦 有四小塔, 惜已殘缺。 側有菩提樹, 門廳位於當中。 底座立柱各有佛立像, 五方佛排列於 外壁, 構成豐富的圖像。

Weldon, David & Singer, June Casey, The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam Collection, 1999, London: Laurence King Publishing,pp.. 46-7, Pl. 7: Similar temple carved from Serpentinite, 11th century.

Provenance: Acquired in 1999.

40

Schroeder,Ulrich von, Buddhist Sculptures in Tibet, Vol. I. India & Nepal, 2001, Hong Kong: Visual Dharma Publication, Ltd. ,pp. 346347, no. 113D- F :model of the Mahabodhi Temple at Bodhgaya, Northeastern Indian or Burmese work, 11th C.

Sotheby’s Indian & SE Asian Art. N.Y. Sept 16, 1999, No. 123: An Indian soapstone model of the Bodhgaya temple, Bihar, Bodhgaya, 10th/ 11th C. 15.1cm.

Sotheby’s Indian & SE Asian Art. N.Y. Sept 22, 2000, No. 143: An Indian black stone model of the Bodhgaya Temple, Bihar, 12th C. 15.2cm.


Actual size/ 實物大小

41


AM-16

Stupa 佛塔 Gilt Bronze 銅鎏金

Mongolia, Zanabazar school 蒙古 贊巴學派 18th c/ 十八世紀 Height: 20.5cm / 公分高

Stupa This finely gilt stupa is constructed in several sections. The center is the dome-shaped vase with a niche framed with pearls, right above accommodates the spire elements sheltered by a parasol with the moon and sun and the jewel at the apex. The stupa is set on a waisted 4-panel podium with the stepped pedestal over an indented rectangular base. Animal motifs flanked by snow lions incised on the panels are the auspicious elephant , horse, khyung and peacock. 佛塔 以日, 月, 寶珠, 十三相輪, 覆缽, 蓮瓣, 基座組成 。覆缽下有四層台階。 基座為束腰須彌座, 四 面中央浮彫有象, 馬, 孔雀, 和大鵬金翅鳥, 左右伴有雪獅。

夏景春(編)般若之光: 夏景春藏佛鑒 賞. 2004年深圳: 萬卷出版社, 頁255 號228 佛塔

Provenance: Acquired in 1998.

42

Rossi, Anna Maria & Rossi, Fabio, Treasures from Mongolia: Buddhist Sculpture from the School of Zanabazar,2004, no. 5: Suburgan (skt stupa).

Zwalf, W, Buddhism:Art and Faith, 1985, p. 141, no. 199, 1985, no. 15


43


AM-17

Cakrasamvara 上樂金剛 Distemper on cloth 棉布彩繪

Mongolia 蒙古 18th c/ 十八世紀 59.5 x 42.5 cm/公分 115 x 64.5cm/公分 ( with

brocade border /

連織錦框)

Cakrasamvara A powerful tantric painting of Cakrasamvara in yab-yum with his consort, Vajravarahi .Cakrasamvara is portrayed in blue-skinned and his four faces in blue, yellow, light blue and red, he steps in alidhasana, trampling two prone figures on the lotus throne and backed by the flaming aureole. He holds red-skinned Vajravarahi in embrace, his principal hands in vajrahumkara and implements of damaru, axe, trident , curved knife, katvanga, noose, blood-filled skull cup and head of a Brahma in his other ten radiating arms. He is clad in a tiger-skin dhoti with a garland of skulls and severed heads and wears a skull tiara surmounted by a tall chignon. At the top register sits Tsongkhapa flanked by yogini and lion-faced dakini -Simhavaktra on each side and surrounding are four Dakinis. At the low register are Vaisravana , two 3-eyed deities and the dakinis. 樂金剛和明妃 充滿力量的一張上樂金剛和明妃唐卡。 上樂金剛, 藍身, 四面現藍、 黃、 淺藍和紅色。 戰鬥格站姿立於蓮花座上, 背有火焰型背 光, 腳踏兩妖魔。 手環抱明妃, 主要雙手拿金剛鈴和金剛杵交叉胸前,其餘十手各拿鼓、 斧 頭、 三叉戟, 彎刀、 天杖、 繩索、嘎巴拉碗、 異教人頭等法器。 背披人皮, 腰圍虎皮裙, 身 掛骷髏頭串, 頭戴骷髏冠, 高髻。 唐卡上界有黃教創始人宗加巴像, 伴隨宗加巴有空行母 和獅面空行母, 環繞上樂金剛有四位不同顏色的空行母,下界有財寶天王和兩位三眼菩薩。

Essen, Gerd-Wolfgang & Thingo, Tsering Tashi, Die Gotter des. Himalaya: Buddhistische Kunst Tibets, Vol. II, 1989, Munchen: PrestelVerlag. Vol II. p. 56, No II. 141. No.II. 306: Cakrasamvara.

Provenance: Acquired in 1999.

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Rhie, Marylin M. & Thurman, Robert, A.F. ,Worlds of Transformation: Wisdom & Compassion, 1999 New York: Tibet House in association with the Shelly & Donald Rubin Foundation,pp. 302-3, no. 94: Paramasukha Cakrasamvara Fathermother.

Sotheby’s Indian & SE Asian Art, N.Y. Sept 24, 1997,lot 69, Tibetan thangka of Cakrasamvara with his consort. Late 17th/early 18th C. 80 x 55.2cm.

Christie’s Indian & SE Asian Art, N.Y. March 21, 2007,lot 352: thangka of Cakrasamvara & Vajravarahi. East Tibet, 18th C., 80.5 x 63.2cm.


45


AM-18

Cakrasamvara 上樂金剛 Gilt Bronze, mineral pigments, inlaid turquoise, lapis 銅鎏金

Qianlong 乾隆 18th c / 十八世紀 29.5 x 23 cm / 公分

Cakrasamvara in his four-faced and twelve-armed manifestation strides in pratyalidhasana on a lotus pedestal trampling two prostrate bodies under his feet. He embraces Vajraravahi in his principal hands with a vajra and ghanta, the other hands with the trisula(trident), khatvanga, elephant skin, damaru, kapala and karttrka (chopper). He wears a tiger- skin dhoti embellished with a garland of severed heads . Vajravarahi, with both legs wrapped around his waist and her hands hold the kapala and karttrka. She is clad in a dhoti festooned with a garland of skulls and jewelry. A magnificent flaming aureole in scrolling foliate envelops the yab-yum with a dynamic impact. 上樂金剛 又名勝樂金剛, 四面十二臂雙身, 主臂擁抱金剛亥母明妃, 右手持金剛杵, 左手持金剛鈴。 腰 圍虎皮裙, 人頭骷髏作佩飾。 金剛亥母明妃手持月形刀和人頭骨碗。 此像尤為突出是火形背 光完整, 實是難得精品。

牛頌(編)雍和宮佛像寶典. 2002年,北京出版社, 頁22, 上樂金剛

牛頌(編)雍和宮佛像寶典. 2002年,北京出版社, 頁24

Provenance: British private collection before 1998.

46

The Bowers Museum of Cultural Art. Tibet: Treasures from the Roof of the World, 2003, Taiwan: Choice Lithographers, p. 156, no. 63:Norbulingka Collection, a 19th C. example, 94.5cm.

Pal, P., Art of Nepal: Exhibition Catalogue, 1985, Los Angeles County Museum of Art & University of California Press, Berkeley,pp. 136-137, no. S65: 18th C. Nepalese Cakrasamvara.


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48


49


AM-19

Buddha Ratnasambhava 南方寶生佛 Gilt Bronze 銅鎏金

Nepal 尼泊爾 11th c/ 十一世紀 Height: 11.5cm / 公分高

Ratnasambhava An artistic manifestation of Ratnasambhava, Buddha of the south,belonging to the five Tathagata Buddhas. Seated in dhyansana on a round pedestal on double lotus, his right hand in varada, the charity mudra and his left hand on his lap in dhyana mudra. He is clad in a simplistic robe clings tightly to his body. His downcast eyes and closed lips give a pensive mood of the Buddha.The statue was heavily rubbed after many years of worship. Much of the gilding is abraded but leaving traces of gilt on the urna, neck marks and the meandering lines on the petals of the lotus base creating an amazing beauty to the sculpture.  南方寶生佛 五方佛中之南方佛。 右手下垂, 掌心向外作與願印. 左手結禪定印。 歷經多年崇拜, 大部份鎏金 已失, 但部份鎏金保留在白毫, 掌上法輪, 衣褶, 蓮台飾紋, 增加優美的立體感。 身穿古樸貼身 薄衣, 面露慈悲之相。

中國國家博物館, 中國文物信息咨詢中心, 佛造像藝術精 粹, 2006年, 北京: 中國社會科學出版社, 頁53: 釋迦牟尼 銅像, 12世紀, 高20.5厘米,尼泊爾.

Provenance: Acquired in 1999.

50

Christie’s Indian & SE Asian Art, N.Y. Sept 21, 2007, no. 168: Gilt bronze Buddha, Nepal. 10- 11 C. 16cm.


Actual size/ 實物大小

51


AM-20

Avalokitesvara 觀音菩薩 Bronze inlaid silver 銅 鑲銀

Kashmir 克什米爾 11th c/ 十一世紀 Height: 13.5cm / 公分高

Avalokitesvara is portrayed seated in lalitasana on a two-layer crescent podium engraved with bulbous petals. Flanked by two stalks of full -bloomed lotus over his shoulders, his left hand holds the blue padma and his right hand in abhaya, blessings of fearlessness. His sturdy body with clearly defined pectoral and abdominal muscles, his round face with bloated cheeks, broad nose and large open eyes inlaid with silver, all resembling the special features of Kashmir statues. A diminutive Amitabha centered in the tall coiffure with neat braids on the forehead and tresses flow over the shoulders. He wears a long, stylistic dhoti embellished with an antelope skin over left shoulder and its protruding head under his armpit. The rhomboid earrings and beaded ornaments further adds to the aesthetic look of the image. 觀音菩薩 半跏趺式坐於束腰雙層蓮座上, 右手施無畏印於胸前, 左手按在大腿, 持蓮枝托蓮花於左 臂上。 身體壯實, 腹肌突出, 面容飽滿, 雙眼鑲銀, 上身半裸披鹿皮和瓔珞, 下身穿紋飾薄長 裙。 髮結高髻, 刻有阿彌陀佛置於髻前, 造型生動, 典型克什米爾風格。

Schroeder, Ulrich von, Indo- Tibetan Bronzes, 1981, Hong Kong: Visual Dharma Publication Ltd., pp. 122-123, no. 18G: Sugatisandarsana Lokesvara, Kashmir, 11th C. Ht. 0.141m. Pan-Asian collection.

Provenance: Tado Lithang Phulu collection in 1990.

52

Schroeder, Ulrich von, Indo- Tibetan Bronzes, 1981, Hong Kong: Visual Dharma Publication Ltd., p. 126, no. 20A: Sugatisandarsana Lokesvara, Kasmir, 950-1050 A.D., Ht. 0.165m. Brass. Sold Christies, London, Nov 16, 1977, no. 149.


53


AM-21

Four-armed Tara 四臂佛母 Gilt Bronze 銅鎏金

Nepal 尼泊爾 15-16th c 十五至十六世紀 Height: 24.4cm / 公分高

Four-armed Tara A finely cast four-armed Tara in ardhapayankasana, the dancing pose on a lotus pedestal. Her front left hand holds the holy water pot with the other three hands radiating around her, performing the blessing mudras. She wears a short dhoti incised with cloud and floral motifs and dotted rosettes. Her waist secured with beaded belt decorated with pendant ribbons. Her five-leaf diadem inset with turquoise  encloses her hair in a cascaded chignon surmounting a jewel. She is adorned with ornate earrings, necklace, armlets, bracelets and anklets. 四臂佛母 舞姿獨特, 左前手拿寶瓶, 其他三手持三寶手印, 極富動感。上軀袒露, 佩飾瓔珞, 臂釧。 下身 華麗短裙, 帔帛自腰而下, 飄垂過膝, 頭飾五葉冠, 耳配雙圈環, 造型優美別緻。

Christie’s NY Sept 21, 2007. lot 124, gilt bronze frieze with dancers, Tibet, Densatil, 15th century

Christie’s NY Sept 21, 2007. lot 165, gilt bronze Avalokitesvara, Tibet, 15- 16th century

Provenance: Nagel, Asian Art, Nov 2000, German private collection.

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55


AM-22

Manjusri 文殊菩薩 Bronze, cold gold, mineral pigments 銅, 泥金、 礦彩

Tibet 西藏 16th c/ 十六世紀 Height: 22.5 cm / 公分高

Manjusri the male embodiment of Perfection of Wisdom, second in importance to Avalokitesvara in the Mahayana tradition. Depicted in standing pose in tribhanga, his right hand brandishing a flaming sword and his left hand gently holds the stem of the blue lotus displayed at shoulder level. Surmounting the lotus blossom is the “Perfection of Wisdom” sutra. 文殊菩薩 代表智慧菩薩, 八大菩薩中,地位僅次於觀音菩薩。 此尊微帶三折技站立, 右手持寶劍, 能驅除 一切無明, 左手持一蓮枝托着經篋, 象徵無盡智慧。

Essen, Gerd-Wolfgang & Thingo, Tsering Tashi, Die Gotter des. Himalaya: Buddhistische Kunst Tibets, Vol. II, 1989. Munchen: Prestel- Verlag. p. 56. No II. 108 Dharmacakra: Manjusri.

Provenance: Acquired in 1990.

56

Essen, Gerd-Wolfgang & Thingo, Tsering Tashi, Die Gotter des. Himalaya: Buddhistische Kunst Tibets, Vol. I, 1989. Munchen: Prestel- Verlag. p. 70- 71 No. I- 33: Manjusri


57


AM-23

Kwan Yin 觀音送子 Gilt Bronze 銅鎏金

Ming dynasty 明朝 16th c/ 十六世紀 Height: 23 cm / 公分高

Kwan Yin Sensuously modeled of a Bhodhisattva holding the baby boy on her left lap and a gem in her right hand. She is seated in dhyansana, clads in a draped robe decorated with peony and scrolling foliage patterns on the hems, flows down to form a rippled circular design. She is bejeweled with a tasseled pectoral, beaded necklace and ornate earrings. Her hair pulled up in a tall chignon beneath a cowl centered by a diminutive Amitabha, and long tresses fall over her shoulders. The contemplative mood of the Bodhisattva and the tender smile of the baby convey serenity and loving care. 觀音 左手抱男孩, 右手持寶珠。 全跏趺坐姿. 身穿厚重佛袍, 飾以珠寶胸前。 長袍垂至腳,向外散開 成圓碟型, 典型明朝風格。 結高髻戴冠, 中央有阿彌陀佛造像。 面帶微笑, 實是衆生喜愛的菩 薩。

Christie’s. Art D’ Asie, Paris ,7dec 2007,p. 136,no. 260: A bronze figure of Guanyin, China, Ming dynasty, 17th C., 23cm.

Provenance: U. S. west coast private collection before 1995.

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AM-24

Vajradhara 金剛總持 Gilt bronze inlaid silver, turquoise, coral 銅鎏金,鑲嵌銀、綠松石、珊瑚

Tibet 西藏 15th c / 十五世紀 Height: 33.5cm / 公分高

Vajradhara represents the secret form of Buddha Sakyamuni and the supreme essence of all buddhas of the past, present and future. Seated in dhyansana on a double-tier lotus podium, his hands crossed before his chest in anjali mudra symbolizing offering and devotion. He holds the vajra and ghanta:ritual implements for compassion and wisdom. He wears a five-leaf diadem and a chignon surmounted by a vajra. Turquoise beads lavishly adorned the circlet of leaves around the neck and the earrings. Silver linings encrusted in the striations of his dhoti, the necklace, armlets and bracelets. 金剛總持 密宗的秘密主, 傳授密宗的教主。 為各教派尊奉。 右手持金剛杵, 左手握金剛鈴。 代表慈悲與 智慧。雙手交於胸前。 頭戴五葉冠, 身佩瓔珞、珠寶和 鑲嵌銀 、綠松石, 華麗非凡。

夏景春(編)菩提妙相, 2001年沈陽: 遼寧人民出版社, 頁91, 90號: 大持 金剛, 類似鑲銀。

Provenance: Acquired in 1998.

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Sotheby’s Indian & Southeast Asian Art Sept 21st, 2001, New York, no.23: Syamatara, gilt copper alloy, with silver and gems, circa 14th C, 20.3cm H.

Christie’s Indian & Southeast Asian Art, New York, Sept 16th, 2008, no.534 :Amitayus, Tibet, 16th C, 27.3cm


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AM-25

Kwan Yin 觀音菩薩 Lacquer Bronze, mineral pigments 漆銅, 礦彩

Ming dynasty 明朝 17th c/ 十七世紀 Height: 50cm / 公分高

Kwan Yin Seated in dhyansana with left hand holding a vase and her right hand in vitarkamudra, the Bodhisattva is depicted in loosely draped robes left open in the chest, adorned with festoon and a ribbon tied to the waist of her dhoti. Her long hair pulled into a topknot secured by a three-leaf crown engraved with the image of Amitabha. Long stresses fall over her shoulders, with raised urna on her forehead. Her face shines in a serene and compassionate expression. 觀音菩薩 左手托寶瓶於臍前, 右手結三寶印於胸前。 頭戴三葉冠, 冠飾刻有阿彌陀佛造像,面容飽滿, 嘴 角浮現微笑, 典型慈悲菩薩相。

Christie’s, Art D’ Asie, Paris, 10 Jun 2009,p. 92, no. 247: A polychrome lacquered bronze figure of Guanyin, China, Ming Dynasty,17th C., 51cm.

Provenance: Acquired in 1998.

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Christie’s, Art D’ Asie, Paris, 21 Nov, 2008,p. 69, no. 141: A bronze figure of Guanyin, China, Early Qing Dynasty, late 17th C., 22cm.

Christie’s, Art D’ Asie, Paris, 21 Nov, 2008, p. 94, no. 196: A gilt- lacquered bronze figure of Guanyin, China, Ming Dynasty, 16th C. 29.5cm.


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AM-26

6-armed Yamantaka 六臂大威德金剛 Gilt Bronze, cold gold, mineral pigments, inlaid ruby and turquoise 銅鎏金 ,泥金,礦彩,鑲嵌紅寶石、 綠松石

Tibet 西藏 16th c / 十六世紀 Height: 15.5cm / 公分高

Yamantaka A very rare form of Yamantaka standing in pratyalidhasana on an oval lotus pedestal. Yamantaka is depicted with three heads and six arms ,each holding a ritual emblem: a parasu (axe), a ghanta(bell ), a pasa(noose),a vajra(thunderbolt scepter ), a danda(staff),and a khadga(sword). Each bearded face displays a ferocious look with bulbous eyes and fanged teeth. Ruby are inset in the foliate diadems encircling the flaming chignon with a small Aksobhya Buddha image anchored in the center. Coiled snakes adorned the earrings, armlets, wrist bands, anklets, festoon and the chignon. His tigerskin dhoti is ornate with beaded and foliate jewelry. 大威德金剛 非常罕有之三頭六臂大威德金剛造像, 六手分別持法器: 斧、 金剛鈴、 繩索、 金剛杵、 天杖和 寶劍。 面容威武, 炯炯有神。 髮髻前置阿閦佛, 耳佩蛇形耳環, 腰圍虎皮裙。 以珠寶及蛇為瓔 珞, 左腿伸展, 右腿屈曲, 威立於單層蓮花座上。

Schroeder-Imhof, Heidi von, Schritte zur Erkenntnis: Neuzugange der TibetSammlung der Berti- Aschmann- Stiftung im Museum Rietberg Zurich,2006, Stadt Zurich,p. 82- 83: Sechsarmiger Yamantaka Tibet 16th C.

Schroeder, Ulrich von, Indo- Tibetan Bronzes, p. 441,no. 118E: Bajrapanic 16th C. 19cm, Gilt Copper.

Linrothe, Rob, Ruthless Compassion, Wrathful deities in early Indo-Tibetan Esoteric Buddhist Art, Shambhala, Boston, 1999, p. 167, no. 148: shows a 6-armed Yamantaka with Aksobhya Buddha in the headdress

Provenance: Robert Strauss Collection. Sotheby’s Fine Chinese ceramics & works of Art, London, May 13, 2009, lot 49.

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AM-27

Vajrabhairava (Yamantaka) 大威德金剛獨雄像 Hanging Scroll, Distemper on silk 卷軸, 絲彩繪

Tibeto-Chinese 中土藏式 Yuan dynasty 元朝 109 x 170cm / 公分 129 x 226cm / 公分 ( With

brocade banner/

連織錦框)

Vajrabhairava (Yamantaka) A rare Tibeto-Chinese Thangka from the Yuan dynasty depicting Yamantaka as the importantl wrathful Buddhist deity. He has 9 heads,34 arms and 16 legs. The first head is a buffalo crowned in a 3-skull tiara (Qing and Ming are mostly 5-skulls), seven guardian heads , surmounted by the benign-looking Manjusri. His principal hands hold the skull bowl and knife. His other radiating hands hold different attributes: bell, trident, sword, arrow, bow, bottle, lasso, hook, chopper, parasol, vajra etc. He stands in alidhasana, trampling on the heavenly gods, birds and animals, symbolize evil and ignorance. He is clad in tiger-skin dhoti and wears a garland of  severed heads and snakes. At the top register sits a red-clothed lama in a niche, probably Phags-pa, the Imperial Preceptor of early Yuan dynasty. A bat indicating Chinese influence was found to the left of the guru.He is flanked by two flying deities in the clouds.The bottom register portrays three ferocious guardians with dome-shaped hair: a Palden Lhamo on a donkey, the 6-armed Mahakala and the 2-armed Mahakala.Mahakala was the most respectful and influential guardian worshipped by Phags-pa in the Yuan court. 大威德金剛 極為罕見的中土藏式大威德金剛唐卡。 大威德金剛身呈藍色單身,面朝向左, 九面,三十四臂,十六足。主面是牛首,戴三骷髏冠(有異於 明、清朝的五骷髏)。左右各三面,牛首上有兩面,最頂是慈祥面相文殊菩薩。主臂持鉞刀和嗄巴 拉碗,其餘各手持各種法器:金剛鈴、金剛杵、戟、劍、 弓、箭、寶瓶、索子、鈎、傘等。項掛人頭珠鍊, 多條異常生動的斑蛇繫於胸前至肚腹。下身穿虎皮裙,展立雙層蓮花座上, 腳踏生靈。 大威德金剛唐卡上界有一紅衣結說法印的高僧,可能是元朝國師八思巴 ,左側刻有蝙蝠圖案。 左右上方有一飛天侍從,雲彩佔據天空,有宋朝五代遺風。 下界有三護法像,左邊騎騾吉祥王 母, 中間是六臂大黑天,右邊是兩臂大黑天。 大黑天是元朝八思巴非 常重視和崇拜的護法。

Provenance: Formerly George Gray Barnard, New York collection in 1970s Private British collection since 1970s

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Rhie, Marylin M. & Thurman, Robert, A.F. ,Wisdom & Compassion, The Sacred Art of Tibet, 1996 Expanded edition. London: Thames & Hudson,pp.162- 163: Kubera in the Musee Guimet, Paris. 16-17th C., example shows similar Chinese taste & influence.

淅江省文物考古硏究所, 西 湖石窟, 1986年, 淅江人民 出版社, 杭州. 號113. 寶成 寺麻曷葛剌像, 元至治二年 (公元1322)

楊巨才(主編). 華夏瑰寶. 山西洪洞元代壁畫. 中國 出版集團, 2009. (i) p.40, (ii) p.44, 面孔近似lama.

Ogasawara, Sae, “Chinese Fabrics of the Song & Yuan Dynasties preserved in Japan” in “Chinese & Central Asian Textiles”: Selected articles from Orientations 1983- 1997, p. 32, Fig. 8: Ryoto for use in a Bugaka performance, dated 1378 gold, brocade, Toyko National Museum.

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AM-28

Wuze-Rinchen Lama 上師 烏兹仁川 Gilt Bronze, cold gold, mineral pigments 銅鎏金,泥金,礦彩

Tibet 西藏 15th c/ 十五世紀 Height: 16.5cm / 公分高

Wuze-Rinchen The lama is identified as Wuze-Rinchen by the inscription on the back of his throne. He performs the teaching mudra with his right hand and left hand holds the sutra. He sits in the diamond pose on a rectangular lotus throne elaborately engraved with addorsed lions, kinnari, guardian flanked by pillars and foliate in openwork. Part of his bare right foot exposed under his voluminous robe in patchwork and raised hems incised with floral motifs in scrolling vines. The folded pleats over his torso outline his  chubbiness and adds to the naturalistic depiction of the Lama. The artistic curved mandorla framed perfectly around the Lama accentuates the silhouette of the Guru. 烏兹仁川 上師坐於獨特長方仰覆蓮台, 兩層蓮花中間有獅子、金翅鳥和武士裝飾。蓮座承托火焰型背 光, 蓮台背後有藏文銘文説明上師是烏兹仁川。上師穿多層華麗僧袍, 右手臂和右足踝外露。面 容飽滿年輕, 右手結説教印, 置於胸前, 左手持經書置於左腿上。

Sotheby’s, Indian & SE Asian Art, N.Y. March, 25, 1999, no. 117: A fine Tibetan gilt- bronze figure of Atisha, 15th C., 15.7cm.

Provenance: Acquired in 1992.

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Christie’s, Indian & SE Asian Art, N.Y. Sept 20, 2000, No. 69: Gilt bronze Bhaisajyaguru, Tibet, 15th C. 12.7cm.


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AM-29

Scenes of the Buddha’s Life 釋迦牟尼生平故事 Andagu stone (yellow prophyllite ), mineral pigments 黃石, 礦彩

Myanmar 緬甸 12th c/ 十二世紀 13.5 x 8cm / 公分

Scenes of Buddha’s Life The yellow stone carving portrays the principal events in the Buddha’s life. The central large image under the Bodhi tree shows the Buddha seated in dhyansana on a lotus pedestal with his right hand in bhumisparsha mudra, signifying the important moment of His Enlightenment. On the left of the stele, at the bottom register, depicts the Buddha’s birth represented by the baby Buddha emerging from the armpit of his mother, Royal Maya, standing in tribhanga. Teaching scenes are displayed on the next level with Buddha in charmachakra, the teaching mudra. Top register of the stele portrays the scene of Buddha’s death when He enters into Parinirvana.The rare stone are found in Andagu, a site in Myanmar where only few surviving numbers of these sculptures are discovered. Inscriptions in Tibetan script on the back suggests that it has been worshipped by a Tibetan patron. 釋迦牟尼生平故事 佛祖的一生中選取主要的場面組合, 表現其生平事蹟。 中央主佛成道於菩提樹下, 右手施觸地 印; 左下方佛誕生; 左中圖説教圖;主佛上方是佛涅槃圓寂的場景。石碑背面有藏文銘文, 証明 此作品曾在西藏受供奉。

Lowry, John, Burmese Art. Victoria & Albert Museum, 1974, Ipswich: W.S. Cowell Ltd, England. No. 7: Eight Scenes from the life of the Buddha, 12/13th C. Height 8.5cm.

Sotheby’s Indian & SE Asian Art. N.Y. March 26, 1998, No. 196: A Burmese andagu plaque with scenes from the life of Buddha, circa 12th C. Height 10.8cm.

Provenance: Alex Biancardi collection, London before 1990 Cito Cessna Collection, Sydney after 1990

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Christie’s Indian & SE Asian Art. N.Y. Sept 19, 2002, No.76: A yellow silt stone stele of Buddha, Burma, 12th C. Height 16cm.


Actual size/ 實物大小

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Virupaksa, Western Guardian 西方廣目天王

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Virudhaka, Southern Guardian 南方增長天王

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AM-30

Virudhaka, Southern Guardian 南方增長天王 & Virupaksa, Western Guardian 西方廣目天王 Gilt Bronze 銅鎏金

Tibeto-Chinese 中土藏式 17th c/ 十七世紀 Height: 24- 25cm / 公分高

The two Direction Guardians The two finely cast and intricately detailed figures represent Virupaksa, the Guardian of the West, and Virudhaka, the Guardian of the South, both the protectors of the Buddhist Law. Virupaksa is depicted holding a bird-headed snake in his right hand and a stupa in his left hand. Virudhaka grips the handle of a khadga with his right hand with the blade resting on his left hand. Both guardians seated in lalitasana on a double-tier lotus podium, dressed in festooned armor with ruyi decorated boots ,bejeweled  foliage head-dress, looped earrings, celestial scarf and knotted ribbons at the waist. Impressive sculptures of protectors heavily cast in three sections with rich gilding. 四大護法金剛中的兩尊。 南方增長天王右手持寶劍,左手高托劍鋒。西方廣目天王右手握鳥頭蛇,左手托佛寶塔。兩護法 金剛跏趺坐於雙層蓮花座上。 身穿金鎧甲戰袍,腳穿如意飾靴,戴垂珠耳環,頭戴五葉寶冠,飄帶 生動。

夏景春(編)菩提妙相: 夏景 春藏佛鑒賞. 2001年, 深 圳: 遼寧人民出版社, 頁 228號 223- 224: 増長 天王

Provenance: Acquired in 1990.

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夏景春(編)菩提妙相: 夏景 春藏佛鑒賞. 2001年, 深 圳: 遼寧人民出版社, 頁 228號 223- 224: 多聞 天王

Pal, P. Art of Nepal: Exhibition Catalogue, 1985. Los Angeles County Museum of Art & University of California Press, Berkeley,p. 164, D12: Shows Virupaksa drawing.

Christie’s, Indian & SE Asian Art. NY, March 21, 2001. No. 122: Gilt Bronze Lokapala Virudhaka, Tibet, 16th c. 15.8cm high.


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AM-31

Acala 不動明王 Silk Embroidery, pearls, coral 絹本刺繡, 繡鑲珍珠、 珊瑚

Mongolia 蒙古 17th c / 十七世紀 46 x 31.5cm / 公分 91 x 45cm / 公分

(with brocade border/

連織錦框 )

Acala A rare embroidery silk painting of Acala in seating pose on a subdued human figure over the lotus pedestal, all within a dazzling aureole in colors of orange, blue, yellow and green .His left hand holds up in a warning gesture and his right hand brandishing a sword with a vajra handle over his head. He is richly attired with jewelry over his half-naked body, wears a red short dhoti fastened with an ornate belt on his waist highlighted with rainbow color patterns on the leggings. Coral beads are stitched to his earrings, necklace, pendants, bangles, anklets and tassels of his dhoti. His tiara , sets on a tall bejeweled chignon, is framed with tiny pearls and coral beads. The reposed figure has a coiled strand of pearls on his hair and coral beads on the earrings, armlets and anklets.A simple but stylish depiction of Acala with Chinese influence. 不動明王 極為罕見的不動明王刺繡像。明王坐臥于藍身異教人物上,右手高舉寶劍,左手伸展,作警戒手 印。飄帶環繞身旁兩側及頭頂,別樹一格。頭載珍珠寶冠, 身掛珊瑚珠寶,瓔珞,上身赤裸,腳繫彩 虹飾帶,為蒙古特色。背光由橙、藍、黃三色雲彩組成,與唐卡頂部雲彩風格相同。構圖簡單隆重, 受中原畫風影響。

Provenance: Acquired in 1999.

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Reynold, Valrae, From the Sacred Realm: Treasures of Tibetan Art from the Newark Museum, 1999. Munich: Prestel Verlag. A) pp. 40-41 ,plated 1 :Appliqued silk King Trisong Detsen, Has pearl decoration but 18th C. B) pp. 222-3 pl. 127 :Avalokitesvara also has pearl attached.

Reynolds, Vahrae, “Fabric Images and their special role in Tibet� in Pal, P. (ed.) On the Path to Void: Buddhist Art of the Tibetan Realm, 1996, Mumbai: Mary Publications,pp. 248-9 :Pearl Thangka at Traduck Monastery, Central Tibet.

Mullin, Glenn H. & Watt, Jeff J., Female Buddhas: Women of Enligtenment in Tibetan Mystical Art. Art from the Collection of the Shelly & Donald Rubin Foundation, 2003, Sante Fe: ClearLight publishers,pp.182-3 :Palden Lhamo Magzor Gyalmo

Mullin, Glenn H. & Watt, Jeff J., Female Buddhas: Women of Enligtenment in Tibetan Mystical Art. Art from the Collection of the Shelly & Donald Rubin Foundation, 2003, Sante Fe: ClearLight publishers,pp.182-3 :Palden Lhamo Magzor Gyalmo


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AM-32

Acala 不動明王 Gilt Bronze, mineral pigments, inlaid turquoise, lapis, coral 銅鎏金 ,礦彩, 鑲嵌 綠松石、 青金、 珊瑚

Mongolia, Dolonnor style 蒙古 多倫諾爾式 18th c / 十八世紀 68 x 46 x 24.5cm / 公分

Acala Acala, the destroyer of delusion and the chief protector of Buddhism is depicted in alidhasana, the warrior pose. His right arm thrusts upward holding a flaming khagta and his left hand in vitarkamudra. He is clad in a tiger-skin loincloth ,adorned with beaded festoons, ornate armlets, bracelets, anklets inset with semi-precious stones. The ferocious look is vividly expressed by his three bulging eyes (the perspectives of the past,present and future), fierce eyebrows, furrowed nose and bared teeth.The astounding  look was further amplified by his skulls tiara with flaming jewels. 不動明王 不動明王是五方佛五大明王之首。 “不動”意為誓願, 為釋尊做各種事情, 此誓願和決心不動 搖, 站姿成戰鬥格, 隨時護法, 右手高舉降魔寶劍, 左手結說敎印。 腰圍虎皮裙, 身披珠寶, 頭 以五骷髏為飾, 面容威武, 三眼有神, 示意觀通過去, 現在, 及未來三世。

牛頌(編)雍和宮佛像寶典. 2002年,北京出版社, 頁 13, 金剛手.

Hasumi, Haruo, Treasures of Mongolia, 1996, Tokyo: Nihon Keizai Shimbun, Inc. , p.99, no. 101: Citz Tara has very similar skirt (tiger skin) but was dated to be 17th C.

Rhie, Marylin M. & Thurman, Robert A. F. ,Wisdom and Compassion: The Sacred Art of Tibet, Expanded Edition, 1996, London: Thames and Hudson Ltd. ,p. 68-9, no. 1: Vajrapani.

Provenance: Lempertz, Asian Art, 10 June 2008, lot 328, Achala.

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Sotheby’s, Indian & SE Asian Art, N.Y. Sept 21, 2001, No. 34: a Dharmapala, gilt copper repousse, Tibet- Chinese, 18th C. ht. 36.5cm., Similar lotus base, apron, & jewelry decoration.


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AM-33

Devi 提毗女神 Gilt Bronze 銅鎏金

Nepal 尼泊爾 15th c/ 十五世紀 Height: 21.3cm / 公分高

Devi Standing in abhanga on a round, waisted pedestal with offset lotus petals over a rectangular platform, the goddess Devi is depicted with her right hand outstretched in the gesture of charity holding the jnana, fruit of knowledge and her left hand rests against her thigh. She wears a long dhoti and a diaphanous shawl across her chest and over her shoulder .Her soft gentle face, round breasts, narrow waist and broad hips resembles the early Lichhavi style in Nepal. A full flaming aureole sets behind her singlecrested tiara with beaded hair band fastened to her coiffure. 提毗女神 站於長方平台的仰覆蓮花上, 背有火焰型光環。 右手結施願印, 拈智慧之果。 左手叉腰, 身穿薄 衣長裙。 髮結雙髻, 頭戴單葉寶冠。 身戴珠寶, 耳佩雙圈環, 造型獨特, 深受十世紀尼泊爾尼查 維皇朝影響。

Pal, P. Art of Nepal: A Catalogue of the Los Angeles County Museum of Art Collection, 1985,p. 93, no. S10: a goddess.

Provenance: Acquired in 1995.

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AM-34

White Tara 白度母 Bronze inlaid gold and silver 銅 鑲嵌金和銀

Qianlong, Pala style 乾隆, 派拉風格 18th c/ 十八世紀 19cm / 公分

White Tara Seated in dhyanasana on a tall double-lotus pedestal, White Tara displays her right hand in varada, the charity gesture and left hand holding a lotus stem. She has seven eyes; the extra ones on her palms, soles and forehead symbolizing the watchfulness of the compassionate mind. Particular merit on the image are the gold and silver inlays on the scrolling foliage adorning her skirt. The tall pedestal, the suave body form embellished with simplistic ornaments conform to the Pala style executed by Newari artists recruited to work at the Qing imperial workshops. 白度母 全跏趺坐式, 右手置膝, 左手以三寶印捻烏巴拉花,掌心向外施與願印。面有三眼,手掌和腳掌 各兩眼,合共七眼,顯示白度母慈悲濟世的決心。上身薄衣貼體, 下身裙裳鑲金和銀蓮花紋。 座有 東印度派拉風格, 代表乾隆仿古佳作。

陳百忠. 寂靜與忿怒. 2004年. 台北: 六和文化事業股份有限公司. 頁221 號138 長壽佛

Provenance: European private collection.

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陳百忠. 寂靜與忿怒. 2004年. 台北: 六和文化事業股份有限公司. 頁248 號155 自在觀音

Schroeder, Ulrich von, Indo- Tibetan Bronzes, 1981. Hong Kong: Visual Dharma Publications, Ltd. p.472, no. 130B:Standing Manjusri, 18th C., Tibet ,Ht 0.185m,brass inlaid silver and gold Musees Royeaux d’ Art et d’ Histoire, Brussels: Ver 61.


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AM-35

White Tara, Amitayus & Unishavijayas 長壽三聖 Distemper on cloth 棉布彩繪

Tibet 西藏 18th c/ 十八世紀 76 x 55.5cm / 公分

White Tara, Amitayus & Unishavijayas A harmonious display of White Tara, Amitayus and Unishavijaya clones painting commissioned for long life. The central figure portrays White Tara seated in dhyansana on a tri-colored lotus surmounted by a red and rainbow halo, her right hand in varada mudra and left hand holding the stem of a lotus flower, bearing the ‘third eye’ and extra eyes on the palms and soles. She is surrounded by 195 Unishavijaya clones arranged in orderly grid lines, each holding a visvavajra in her principal hands. At the center of the top register is Amitayus. White Tara, Amitayus and Unishavijaya represent the important trinity for health, long life and physical immortality. The myriad form is significant in granting infinite merit to the worshippers. 長壽三聖 白度母,無量壽菩薩和一百九十五尊勝佛母以協調方式排列在布畫上。 中央人物是白度母,全跏 趺式坐在三色蓮台上,襯托著紅和彩虹色背光,右手結與願印,左手持蓮枝,面有三眼,手掌和腳 底各有兩眼,合共七眼。 圍繞白度母的衆尊勝佛母,各手持十字金剛杵。無量壽菩薩坐於中間頂 部, 白度母之上方。 白度母,無量壽菩薩和尊勝佛母通常一起受供奉,表現民間追求健康、長壽和 永生的希望。 這張唐卡表現別樹一格。

Mullin, Glenn H. & Watt, Jeff J. ,Female Buddhas: Women of Enligtenment in Tibetan Mystical Art. Art from the Collection of the Shelly & Donald Rubin Foundation, 2003. Sante Fe: Clear-Light publishers, pp. 104-5 :Amitayus similar design.

Provenance: Acquired in 1996.

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Sotheby’s Indian & SE Asian Art, N.Y. Sept 22, 2000. A) No. 33: A set of Tibetan thangkas of the Five Transcendant Buddhas, circa 17th C. 77.5 x 53.3cm. Model of present thangka. B) No. 35: A Tibetan thangka of Unisavijaya, circa 18th C. 124.5 x 79.4cm.


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AM-36

Maitreya 彌勒菩薩 Gilt Bronze, mineral pigments 銅鎏金

Qianlong 乾隆 18th c/ 十八世紀 height: 16.5cm / 公分高

Maitreya sits in bhadrasana on a floral mat placed on a two-tiered rectangular pedestal. His legs pendant resting on a lotus platform indicating his readiness to rise and return as the future Buddha. His hands in dharmacakra mudra and the two lotus flowers at his shoulders support a cakra and a kalasa .He wears a winged diadem in leaf motifs surmounting his hair in tall chignon centered by a raised stupa. Clad in a diaphanous long dhoti with incised foliate borders and beaded armlets, wrist bands and anklets. 彌勒菩薩 垂足坐像善跏趺坐於須彌座上, 腳踏蓮花, 表示菩薩隨時準備救世的未來佛。雙手説教印置於 胸前,左右手附蓮枝承托寶瓶和法輪, 頭戴五葉冠, 冠後有一佛塔,非常特別。

Menzies, Jackie, Buddha: Radiant Awakening. Exhibition Catalogue of Art gallery of New South Wales, Sydney, 2001, p.165, no. 121: Maitreya, a larger and earlier example.

Provenance: Acquired in 1997

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Schroeder, Ulrich von, Indo- Tibetan Bronzes, 1981, Hong Kong: Visual Dharma Publications, p. 553, no. 158D: Bodhisattva Maitreya, Qing Dynasty. 18th C. Ht. 0.179m. Gilt brass, Private Collections, Belgium.


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AM-37

Paradise of Maitreya 彌勒菩薩 兜率天宮圖 Distemper on cloth 棉布彩繪

Mongolia 蒙古 18th c/ 十八世紀 83 x 53cm / 公分

Maitreya the future Buddha, presently a bodhisattva residing in the Tushita heaven, who will descend to earth to save the sentient beings. On top of the painting, Maitreya is represented as a bodhisattva. Seated in dhyansana on a lotus throne, his left hand in abhaya mudra holding a kalasa, his right hand in vitarka mudra. He is flanked by Atisha and Tsongkhapa, surrounded by numerous deities and bodhisattvas assembled to hear his preaching. His paradise is elaborately adorned with beautiful landscape and pagodas. Flying deities, guardians fill the air with music, prayers and scattered flowers, all contributing to the glamorous scene of the paradise. The lower part of the painting portrays Maitreya as the future Buddha , seated in bhadrasana, legs pendant ,ready to leave his throne for his descent on earth for the salvation of mankind. 彌勒菩薩 居於兜率天內院情景。彌勒菩薩左手托淨瓶,右手結說法印。居中結跏趺坐,菩薩左右有阿底峽 和宗加巴上師,衆天神、 菩薩環繞法席,聆聽教法。四周宮殿金碧輝煌,護法、奏樂、散花,場面壯 麗。下半部 描繪彌勒降身立像,穿五色彩虹長裙,西方坐式,準備降世普渡衆生。

王家鵬(編) 藏傳佛教唐卡, 故宮博物院藏文物珍品大 系, 2003年. 上海科學技術 出版社, 香港商務印書館( 香港) A) 頁106, 號96彌勒 佛聖界.

王家鵬(編) 藏傳佛教唐卡, 故宮博物院藏文物珍品大 系, 2003年. 上海科學技術 出版社, 香港商務印書館( 香港) 頁244, 號226 繡像 彌勒佛聖界.

Sotheby’s Indian & SE Asian Art. N.Y. Sept 22, 2000. No. 36. A) Tibetan thangka of the Bodhisattva Maitreya, circa 1800. 63.5 x 41.3cm.

Provenance Old German Collection Nagel, Asian Art. Nov 14, 2005, lot 1647. Thangka Paradise of Maitreya.

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Sotheby’s Indian & SE Asian Art. N.Y. Sept 22, 2000. No. 36. March 20, 1997. No. 86 Tibetan Thangka of the Paradise of Maitreya, circa 17th C. 130.8 x 83.8cm


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AM-38

Buddha Sakyamuni 釋迦牟尼佛 Gilt Bronze, mineral pigments 銅鎏金、 礦彩

Tibet 西藏 16th c/ 十六世紀 Height: 45cm / 公分高

Buddha Sakyamuni seated in dhyansana on a waisted, double-tier lotus pedestal with beaded rims. His hands in bhumisparsha and his left hand holds a kalasa on his lap. He is clad in his monastic robe adorned with floral and rhomboid patterns along the hems, highlighted by the profound urna and lapis pigments on the hair in tight curls surmounted by a jewel finial. Soft contoured features and subtle expression on his round face convey the contemplative mood of the Buddha. 釋迦牟尼 成道造像, 右手結觸地印, 左手拿寶瓶橫置於臍下. 身穿厚重帛袍。 面露慈悲, 面容飽滿。佛陀 沈靜的氣質與柔和的身驅被刻畫得淋漓盡致。

Sotheby’s Indian & SE Asian Art. N.Y. Sept 24, 1997, No. 97 :A Tibetan bronze figure of Buddha 15th C. ht. 40.6cm, similar style.

Provenance: Acquired in 1997

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95


AM-39

Buddha Sakyamuni 釋迦牟尼佛 Bronze, lacquer gilding 銅漆金

Kamphaeng Phet Period, Thailand 泰國 金邊泊時代 14- 15th c 十四至十五世紀 122 x 43 x 28cm / 公分

Buddha Sakyamuni Buddha Sakyamuni stands in samapada with his right hand raised in abhaya mudra, gesture of dispelling fear and his left hand pointing to the earth. He is finely modeled with a long sanghati flaring at the ends, secured at the waist by a pleat falling to his feet .His hair in neat curls with a flame finial atop the ushnisha, the prominent bump on the Buddha’s head,a typical finial style of the Thai Buddhas. 釋迦牟尼 站立姿,右手高舉置於胸前,施無畏印,左手下垂向地。 身型修長優美,披薄衣,頭頂高肉髻和螺 髮,髮結火焰型尖頂,乃泰國典型風格。

Hong Kong Museum of Art, Sculptures from Thailand, presented by the Urban Council, Hong Kong and the National Museum, Bangkok, 1982, p.143, no.27: head of Buddha, Sukhothai Style, Kamphaeng Phet type, circa 1375-1438 A.D., 77cm H

Provenance: American private collection

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Krairiksh, Piriya, The Sacred Image: Sculptures from Thailand, Exhibition organized by the Museum for East-Asian Art of the City of Cologne in Collaboration with the Department of Fine Arts and the National Museum, Bangkok, 1979-1980, p.169, no.46: head from an image of the Buddha, Thai, Sukhothai, Kamphaeng Phet Style, 14-15th C, bronze, 77cm H, National Museum, Bangkok


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東寶齋 HOLLYWOOD GALLERIES

Ying Har Tang Collection 2 ---Abhaya Mudra  

for more info, please visit www.hollywood-galleries.com or contact hollywoodgalleries@gmail.com

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