拍品描述:藏西 十一至十二世纪 银金刚鏁菩萨像连铜座 Himalayan Art Resources item no. 68449. HAR编号68449 For further information on the condition of this lot please contact Alexandra.Farahnik@sothebys.com David Weldon and Jane Casey Singer, The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam Collection, London, 1999, pl. 14. Ashmolean Museum, Oxford, 1996–2005 (on loan) The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam Collection, Ashmolean Museum, Oxford, 1999. Arte Buddhista Tibetana: Dei e Demoni dell' Himalaya, Palazzo Bricherasio, Turin, 2004, cat. no. IV. 15. Rubin Museum of Art, New York, 2005–2018 (on loan). Masterworks of Himalayan Art , Rubin Museum of Art, New York, 2019. Rob Linrothe, Collecting Paradise: Buddhist Art of Kashmir and its Legacies, Rubin Museum of Art, New York, 2014, cat. no. 2.24. Vajrasphota is one of the Vajradhatu mandala gatekeepers, holding a chain (sphota) that binds the presence of the divinities and the mind of the practitioner within the mandala palace. The athletic posture of the deity is remarkably similar to another Vajradhatu mandala gatekeeper, Vajrankusa, painted on an eleventh century manuscript from Tholing Monastery in western Tibet, from the Nasli and Alice Heeramaneck Collection, now in the Los Angeles County Museum of Art, see Rob Linrothe, Collecting Paradise: Buddhist Art of Kashmir and its Legacies, Rubin Museum of Art, New York, 2014, fig. 2.23. Compare also the idiosyncratic coiffure of both guardian figures, with upward pointing tresses at either side of the head. A western Tibetan provenance, and a similar date of around the eleventh or early twelfth century is therefore likely for the Nyingjei Lam Vajrasphota. The powerful posture, and the scalloped pedestal design that evokes a mountain setting, echo the sculptural forms of Kashmir bronzes that influenced the art of western Tibet, such as the renowned circa 725 CE Chakrasamvara from the Nasli and Alice Heeramaneck Collection at Los Angeles County Museum of Art, see Pratapaditya Pal, The Arts of Kashmir, Asia Society, 2007, fig. 92. Important silver images were made in the Karkota period (7th-9th century) under King Lalitaditya (r. ca. 724-750) according to the historian Kalhana (fl. mid twelfth century), as seen in the following quote: ""Into the image of Muktakesava he put eighty-four thousand tolakas of gold. And collecting as many thousands of palas of silver, that pure-minded [king] made the famous statue of Parihasakesava. With just as many prasthas of copper he made the glorious [statue of] the ‘Great Buddha (Brhadbuddha) which reached up to the sky. M. A. Stein, Kalhana’s Rajatarangina: A Chronicle of the Kings of Kashmir, Oxford, 1892, R., Delhi, 1979, p. 142." None survived — probably destroyed and melted for the metal value by subsequent rulers or invaders — but the tradition may have inspired the use of silver for the Nyingjei Lam Vajrasphota. Kashmir bronzes are often inlaid with copper and silver and the Vajrasphota is likewise embellished, with nipples inlaid in copper. Compare the inlaid nipples on an another eleventh or twelfth century western Tibetan silver Manjushri in the Ashmolean Museum, see Amy Heller, Early Himalayan Art, Oxford, 2008, pp 116-17, cat. no. 37, and on a tenth or eleventh century western Tibetan silver figure in the Metropolitan Museum of Art (acc. no. 1984.211). 菩萨道金刚鏁菩萨，应源自藏西，造于十一至十二世纪早期。造像姿态雄浑有力，宝座纹饰仿似置身高山，呼应克什米尔造像风格，藏西艺术深得其影响，例如 Nasli 与Alice Heeramaneck 珍藏一件胜乐金刚，造于约725年，参考 Pratapaditya Pal，《The Arts of Kashmir》，Asia Society，2007年，图92。 据史家 Kalhana （活跃于十二世纪中）记载，卡尔科塔王朝（七至九世纪）Lalitaditya 国王在位期间，约724-750年，曾铸造重要银制佛像，可惜皆已失，或因银质珍贵而被熔化改铸，然此造像风格已得传承，即如此像。 克什米尔造像常见错红铜或银，本像亦是，乳首错红铜。比较牛津阿须摩林博物馆藏一尊十一至十二世纪藏西银制文殊菩萨像，乳首亦错红铜，见 Amy Heller，《Early Himalayan Art》，牛津，2008年，页116-7，编号37。并参考纽约大都会艺术博物馆藏一尊十至十一世纪，藏西银制佛像，馆藏编号1984.211。