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Ca. AD 1 - 100.A terracotta oil lamp boasting a distinctive reddish hue and a charming, recessed tondo adorned with a dolphin in front of the rudder. The dolphin, a recurring motif in ancient Roman art, was often associated with Venus, the goddess of love and beauty, and represented good luck and protection during sea voyages. The lamp is equipped with a looped handle to the rear and a frontal round-tipped spout, allowing for easy handling and use. The flat base provides a sturdy foundation for the lamp, ensuring stability during use. In ancient Roman society, oil lamps were an essential source of artificial light and played a significant role in daily life. They were used for practical purposes, such as providing light for reading, writing, and cooking, as well as for decorative and symbolic purposes, such as funerary offerings and religious ceremonies. The use of oil lamps in ancient Rome extended beyond the practicalities of illumination, as they often served as a medium for artistic expression and cultural exchange. For a similar lamp, see the Richard and Carole Cocks Art Museum, item 2013.HB.62.Size: L:105mm / W:75mm ; 65gProvenance: Property of a London Ancient Art gallery, formerly acquired in Monaco.

Ca. AD 900 - 1100.A Spangenhelm-type helmet comprised of four pieces of iron, riveted to form a slightly pointed bowl shape. For similar, but with nasal guard, see: The Metropolitan Museum of Art, Accession Number: 29.158.32.Size: 165mm x 200mm; Weight: 890gProvenance: Private UK collection; from an old London collection formed in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Western Asiatic/Aegan, Ca. 1200 - 700 BC.An extremely fine bronze sword featuring a sharp blade with a prominent midrib. The round-section hilt with two circumferential ribs for a better grip extends to a triangular-shaped guard. The grip swells into a large D-shaped stone pommel which balances the weight of the weapon. For similar see: Christie's, Live Auction 9482, The Art of Warfare, The Axel Guttmann collection part I, Lot. 24.Size: 410mm x 40mm; Weight: 480gProvenance: Property of an Oxfordshire art professional; previously in an old Canadian collection formed in the 1980s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 350 - 300 BC.An Apulian red-figure oinochoe, the main decoration portrays the face of a woman crowned with a stephane and sakkos. The woman also wears an elaborate necklace and earrings. The concise decoration includes the typical Apulian palmette painted beneath the handle. The vase's neck is adorned with vertical white lines. For similar see: Met Museum accession number 06.1021.226.Size: 215mm x 90mm; Weight: 255gProvenance: Property of a central London gallery, previously acquired on the Dutch art market; Ex. Frederik Van Driel, Maastricht 1993. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 1100 - 900 BC.A stone cylinder seal from West Persia depicting a hunting scene with a god using a bow against wild animals. Accompanied by a signed scholarly note by Professor Wilfrid George Lambert. For similar see: The Walters Art Museum ACCESSION NUMBER 42.797.Size: 35mm x 13.5mm; Weight: 13gProvenance: Property of a London gallery; formerly with a Mayfair Art dealer S.A.; Ex. 1990s London collections, studied and catalogued by professor Lambert in the early 90s (with original note, signed by him). Previously in an old British collection formed since the 1960s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 2500 BC.A large vessel formed from terracotta, exhibits a distinctive form characterised by a flat base, a bulbous main body that gracefully tapers towards its neck, culminating in a pronounced rim. Its structural elegance is a testament to the craftsmanship of its creators, who displayed a keen sense of proportion and form. The vessel's exterior is adorned with multiple horizontally oriented registers of black-painted, stylized motifs. These motifs, though not explicitly detailed, reflect the artistic inclinations of the Indus Valley culture, which often drew inspiration from the natural world and abstract representations. The careful arrangement of these motifs demonstrates a level of precision and aesthetic sensibility, inviting contemplation of their possible cultural significance. Notably, the lower part of the vessel remains undecorated, hinting at a deliberate artistic choice to emphasize the intricate patterns adorning the upper sections. The utilization of terracotta, a material that was widely available in the region, underscores the practicality and adaptability of Indus Valley ceramics. These vessels, with their varied shapes and sizes, played a multifaceted role in the daily life and rituals of this ancient civilization, making them invaluable artifacts for understanding the cultural and artistic heritage of the Indus Valley.Size: L:280mm / W:220mm ; 2.28kgProvenance: Private UK collection; from an old London collection formed in the 1990s. This item has been checked against the Art Loss Register database.

Ca. 10th - 11th century AD.A bronze bowl characterized by a deep body, rounded base, and high sides. The bowl's interior is smooth and unadorned, while its exterior is finely decorated. The bowl's exterior features an engraved band of small circles with a dot around the rim, and the main register is an intercrossing of diagonal lines, interspersed with small circles, to create mesmerizing design. The base features a large six-pointed star within the circle and a dot band. The purpose of this bowl remains elusive, perhaps it was used in religious ceremonies, or as a decorative item for wealthy patrons, or even as a practical vessel for everyday use. Islamic metalwork is renowned for its intricate designs, superb craftsmanship, and ornamental motifs that often draw upon Islamic calligraphy and geometry. Metalworkers employed various techniques such as engraving, inlay, and casting to create a diverse range of objects, including bowls, ewers, lamps, and candlesticks.Size: L:125mm / W:255mm ; 1.4kgProvenance: Private London collection of Early Islamic Art - M.A.; formerly acquired on the UK art market since the 1980s.

Ca. AD 1100 - 1300.A silver Seljuk penannular bracelet with a central ridge with two opposing decorated panels on the sides, each with a stylised floral motif and inscription on a textured background. In Islamic art, these designs symbolise divine creation and eternal nature, with arabesques representing endlessness and precision through geometric shapes.Size: 50mm x 60mm; Weight: 130gProvenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Neolithic China, Ca. 7000 - 1700 BC and Han dynasty, Ca. 202 BC - AD 220.A collection of five Chinese Neolithic to Han dynasty pieces. The middle item is a terracotta boshan lu, a type of Chinese incense burner in the form of a mountain, popular during the Western Han period. The top left piece is a Han dynasty tripod censer, with a cylindrical body. The lower left piece is a Western Han period hemispherical vessel cover decorated in a spiral pattern characteristic of the period. The top right terracotta bowl is from the Han dynasty, with a Neolithic period moulded water jar on the lower right side.Size: 110-160mm x 130-215mm; Weight: 5.01kgProvenance: Property of an American collector, acquired from the US estate collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 197 - 31 BC.A Late Hellenistic 21 ct gold finger ring with an intaglio depicting a male head in profile facing left. For similar see: Catalogo illustrato della Glittica nella collezione Santarelli, n. 47. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: D:18.34mm / US: 8 1/4 / UK: Q; Weight: 8.2gProvenance: Private Central London collection; ex. UK art market 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

New Kingdom, 18th Dynasty Ca. 1550/1549 - 1292 BC.A collection of three Egyptian alabaster vessels with elongated bodies that connect to a large neck and short rim. One of the alabastra has a flat foot. For similar see: Turin Museum (Cat. 3254 and 3255). Size: 90-115mm x 40-50mm; Weight: 355gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

New Kingdom, Ca. 1550 - 1069 BC.A limestone ushabti, funerary figurine, shaped like a mummy with folded hands, symbolising service in the afterlife. This ushabti has detailed facial features and a black wig. Ushabtis were placed in Egyptian tombs to work for the deceased in the afterlife. This piece is accompanied by a report from Simone Musso, consultant curator for Egyptian antiquities at the Stibbert Museum, Florence, Italy, member of the Nuri Archaeological Expedition.Size: 180mm x 60mm; Weight: 375gProvenance: Private UK collector; Ex. Hans Moller collection 1930s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 100 - 200.A marble torso representing Cupid, showcasing intricate details and characterised by his chubby, soft, yet proportional body. Depicted with a delicate belly button and finely carved surface. In Roman mythology, Cupid was the god of love and desire. His function was to incite feelings of affection and passion in the hearts of mortals and deities alike.Size: L:190mm / W:170mm ; 8.2kgProvenance: Property of a London gentleman; Ex. French collection, Paris, Parisian Gallery, 1970-90. This item has been checked against the Art Loss Register database.

Ca. AD 500 - 600.A beautiful electrum ring, featuring a circular hoop, and a finely decorated trumpet bezel. The bezel is set with rounded green glass with a single collet holding a pearl. The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: D:18.14mm / US: 8 / UK: P 1/2; Weight: 9.6gProvenance: Property of a London Gentleman; formerly in a private UK collection formed in the 1990s.

Ca. 200 - 100 BC.A Hellenistic core-formed glass amphoriskos, with dark blue and yellow trails in a banded pattern.Size: 130mm x 50mm; Weight: 80gProvenance: Property of a London Ancient Art gallery, acquired on the US art market; Ex. Estate of a North Carolina doctor. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Predynastic Period, Ca. 3500 - 3200 BC.A tear-shaped ancient Egyptian macehead carved from red hardstone with black veins. The piece is pierced for fitting on a wooden club. this item is mounted on an acrylic custom-made stand.Size: L:210mm / W:100mm ; 525gProvenance: Property of a West London gentleman; previously in a collection formed on the UK/International art market in the 1990s. This item has been checked against the Art Loss Register database.

Ca. AD 100 - 200.A beautifully carved schist Buddha seated in the Dyana mudra position and backed with a halo. He sits on a cushioned throne above a frieze depicting a votive figure. The deeply incised drapery of his sanghati robe flows over his shoulders and covers his body. His face with downcast, almond-shaped eyes, his hair pulled over the ushnisha topknot. His long and stylised earlobes is in reference to the heavy earrings that the Buddha wore before he renounced his wealth. Mounted on a custom-made stand.Size: 350mm x 215mm; Weight: 7.19kgProvenance: From the collection of a London gentleman; formerly acquired on the Belgium art market in the 1960s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ptolemaic, Ca. 300 - 100 BC.A gold finger ring of Henig type I, with a round hoop and an elongated bezel setting enclosing carnelian intaglio engraved with a left-facing depiction of a crocodile on a baseline. Item comes with a full authentication report by Sami Fortune, ancient jewellery specialist.Size: D:16.71mm / US: 6 1/4 / UK: M; Weight: 6.15gProvenance: From the private collection of a Central London gentleman; previously in a collection formed on the UK/European art market before 2000. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 100 - 200.A Parthian 20 ct gold pendant with suspension loop. The pendant has a large openwork semi spherical section decorated with filigree and gold loops suspended underneath. For similar see: Christie's, Live Auction 6060 Antiquities, Lot. 358. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: 33mm x 13mm; Weight: 6gProvenance: Property of a London Islamic art specialist collector; previously in a family London collection formed since the 1980s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 1700 - 1200 BC.A pottery figure in buff colour depicting Astarte. The figure has bird-like facial features, with big round eyes and a perforated headdress. Astarte was a prominent ancient Near Eastern goddess, originating from Phoenician and Canaanite civilisations. She was worshipped for her role in love, fertility, war and the cosmos. Typically, she was depicted as a poised and regal figure with symbolic elements like doves and ears of grain, symbolising fertility and prosperity. In some representations, she holds a shield and spear, indicating her association to warfare.Size: L:155mm / W:60mm ; 80gProvenance: Property of a London Ancient Art gallery, formerly private NYC and Tel Aviv collection, acquired 1980-2000 from F. A. , NYC. This item has been checked against the Art Loss Register database.

Sukhothai period, Ca. AD 1238 - 1438.A Thai walking Buddha depicted in the characteristic walking stance seen in South Asian buddhist sculptures. His right hand is in the Abhaya mudra, meaning "fear not", and he is wearing a long flowing sanghati robe over his left shoulder. His face is shown in a serene expression, with downcast eyes and arched brows flanked by pendulous ears. His hair arranged in the ushnisha knot topped by cintamani flame. For similar see, Museum of Fine Arts St Peter 1967.137.Size: 710mm x 240mm; Weight: 19.54kgProvenance: Property of an American collector, acquired from the US estate collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 100 - 300.A Roman 20 ct gold finger ring with a carnelian intaglio depicting Athena. She is helmeted and holding in her left hand a bird and in her right a long spear. The intaglio is attached to a round hoop with a "D" section. For similar see: El Legado de Hefesto n. 457. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: D:19.76mm / US: 10 / UK: T 1/2; Weight: 4.4gProvenance: Private Central London collection; ex. UK art market 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 350 - 300 BC.An Apulian squat Lekythos with a globular body depicting a head of the "Lady of Fashion" with decorated Sakkos and stylised Stephané. There is a palmette under the short handle and vertical lines at the base of the neck connected to a large rim.Size: 95mm x 40mm; Weight: 65gProvenance: Property of a central London gallery, previously acquired on the Dutch art market; Ex. Frederik Van Driel, Maastricht 1993. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Late Period, Ca. 664 - 332 BC.An Egyptian sunk relief shows a man figure facing right and looking at a plant. The wig of the man is detailedly incised and the proportions are realistic. For similar see: MET Museum Accession Number: 11.155.3a.Size: 120mm x 210mm; Weight: 1.3kgProvenance: Property of a London art gallery; formerly in a private collection of a Kensington gentleman since the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 1300 - 1500.A Medieval 23.5 ct gold ring with bezel securing a circular ruby cabochon. The band is decorated with a motif of engraved lines. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: D:12mm / US: 1/2 / UK: A; Weight: 2gProvenance: From the private collection of a Cambridgeshire gentleman; previously in an old British collection, formed in the 1980s on the UK /European art markets. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 300,000 BC.A fossilised vertebrae on a limestone rock. The bone is in excellent condition and the dark colour stands out nicely against the limestone. This item comes with a custom-made stand.Size: L:170mm / W:160mm ; 2kgProvenance: Private UK collection; from an old London collection formed in the 1990s. This item has been checked against the Art Loss Register database.

Ca. AD 100 - 300.A bronze swastika brooch with a catchplate on the reverse. The swastika was a symbol of lightning bolts in Roman art and is therefore associated with the thunder god, Jupiter. Brooches were an important element of Roman dress, used to fasten clothing but they also served as dress accessories in their own right. For comparable brooches, see The British Museum, Museum number 1874,1228.4; The Mougins Museum of Classical Art (MACM), Inv. number: MMoCA615; Richard Hattatt (2000), A Visual Catalogue of Richard Hattatt's Ancient Brooches. Oxbow Books, p. 357, item 1145.Size: 25mm x 25mm; Weight: 8gProvenance: From the private collection of a South London art professional; previously in a collection formed on the UK/European art market in the 1990s.

Ca. Late 5th century AD.A gold finger ring featuring a slender hoop that gently expands at the shoulder to support a red jasper intaglio. The gem is engraved with a block monogram comprised of Greek lettering. A monogram is a design consisting of two or more combined letters, typically initials, to form a single symbol. These symbols were often used as recognisable and personalised marks, representing names or titles of individuals, often associated with the wearer of the ring.Size: D:18.34mm / US: 8 1/4 / UK: Q; Weight: 8.8gProvenance: Property of a London Ancient art collector, formerly in a Mayfair private collection of Mr. P. S., formerly acquired on the UK art market since the 1970s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 100-300.A red stone intaglio engraved with a left-facing portrait of Mercury (Greek Hermes), the god of communication, travel, trade, and theft. His head is flanked by caduceus staffs, one to each side. The intaglio is set in a high carat (20-22ct), possibly later gold ring with a carinated hoop, sculpted shoulders and a raised bezel cell with ribbed walls and granules.Size: D:18.95mm / US: 9 / UK: R 1/2; Weight: 13gProvenance: Private London collection, UK art market before 2000. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 1900 BC.A ceramic prism tablet with sharp edges and corners. Cuneiform is visible on most of the sides. Tablets in this shape were very common in ancient Mesopotamia. The content is Syllable Alphabet A (SA). Very good condition.Size: L:140mm / W:65mm ; 805gProvenance: From the collection of a London gentleman; formerly acquired in early 2000s in France; previously in 1970s European collection. This item has been checked against the Art Loss Register database.

Western Asiatic/Aegan, Ca. 1200-700 BC.A bronze sword consists of an elongated triangular blade that tapers gracefully to a sharp point. The hilt of the sword features a round-section shank with a central rib, displaying meticulous attention to detail. The rib provides additional rigidity to the hilt, ensuring stability and durability during wielding. The sword is adorned with a D-shaped stone pommel, elegantly completing the hilt. The stone pommel serves both a functional and ornamental role. Functionally, it balances the weight distribution of the sword, enhancing maneuverability and control. Furthermore, the stone pommel adds a touch of prestige and aesthetic appeal to the overall design of the weapon.Size: L:540mm / W:80mm ; 530gProvenance: Property of a North London gentleman; previously acquire on the UK/European art market in the 1980s. This item has been checked against the Art Loss Register database.

Ca. late 4th to 2nd century BC.A mould-made ceramic votive figure of rare form, featuring a man holding the arm of a small child standing beside him. Depictions of women with children and children alone are fairly common from the Hellenistic period, but men with children are much rarer. Mounted on custom-made stand. Lower part of body may have been restored, but if so it is incredibly well done and almost impossible to discern. Otherwise in great condition, with nice deposits and remaining pigment. For a similar example, see The Walters Art Museum, accession number: 48.1934.Size: 170mm x 65mm; Weight: 275gProvenance: Private UK collection, acquired on the US art market; Ex. Private East Coast, USA collection. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 1100 - 1300.An open-type bracelet featuring a prominent central ridge and reinforced edges, giving it a bold and striking appearance. The exterior wall of the bracelet is smooth and adorned with very fine etchings comprising abstract patterns and Kufic inscriptions. Jewellery production in the Seljuk era was a highly specialised craft, with skilled artisans using a variety of techniques to create stunning pieces of metalwork.Size: 65mm x 70mm; Weight: 220gProvenance: Property of a London Islamic art specialist collector; previously in a collection formed since the 1980s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. AD 200.A Gandharan schist stone seated bodhisattva. This intricately carved panel showcases a bodhisattva in a seated posture with legs apart and ankles crossed, positioned on a lotus flower plinth. The body is slightly turned to the right, with the right hand holding onto the left shoulder, while the left hand rests on the lap. His body is adorned with heavy necklaces around the neck and bracelets on the wrists, while the figure's head is backed with a large halo and crowned with an elaborate turban.Size: 240mm x 125mm; Weight: 2.9kgProvenance: From the collection of a London gentleman; formerly acquired on the Belgium art market in the 1960s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Eastern Zhou Dynasty/Warring States Period, Ca. 475 - 221 BC.The heavily-cast vessel, with a spherical body, supported on three feet (which resemble bird-shaped feet) decorated by taotie masks. The spout in the form of a zoomorphic animal, possibly a dragon with pronounced eyes, appears to pass through the shoulder of the kettle after emerging from the mouth of a similar dragon, which forms the arched handle decorated with leiwen pattern. The flat-topped circular cover is set with a loop finial, and the smooth polished surfaces with malachite and ferrous encrustation. Some restoration. For another example of a Tripod kettle see: Arthur M. Sackler Collections, is illustrated by Jenny So, Eastern Zhou Ritual Bronzes, vol. III, 1995, pp. 406-7, no. 84. Richard A. Pegg and Zhang Lidong, The MacLean Collection: Chinese Ritual Bronzes, Chicago, 2010, pl. 48.The item has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements.Size: L:185mm / W:210mm; 1.3kgProvenance: East Anglian private collection; formerly acquired in the early 1990s in Hong Kong. Exhibited: Olympia Art & Antiques fair, London June 2022.

Ca. 2500 BC.A terracotta vessel characterised by a ring base, a flattened rounded body, and a short raised rim. The mid-section of the vessel truly captivates with its intricately rendered decoration. The motifs, though abstract, reflect the artistic inclinations of the Indus Valley culture, inspired by the natural world and abstract symbolism. The careful placement and meticulous execution of these decorative elements speak to a level of precision and artistic sensibility that characterised Indus Valley ceramics. This vessel likely played a role in various aspects of daily life and rituals. It could have served as a storage container for grains, or other essential commodities.Size: L:110mm / W:230mm ; 955gProvenance: Private UK collection; from an old London collection formed in the 1990s. This item has been checked against the Art Loss Register database.

Ca. AD 100 - 300.A Roman silver legionary applique with cornucopia. The applique has a conical body, recurve edge and shells adorned with moulded lines in a circular motif.Size: 75mm x 70mm; Weight: 40gProvenance: In the collection of a London gallery, acquired on the US art market; Ex. Private NYC Dr collection, acquired in the 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

Ca. 100 BC - AD 100.A Roman 20.5 ct gold finger ring decorated with a red jasper intaglio depicting a hippocampus facing left. The bezel is connected to thin shoulders, decorated with gold pellets. For similar see: Christie's, Live Auction 17695, Masterpieces in miniature ancient engraves gems formerly in G. Sangiorgi Collection; Lot. 22. This piece has undergone X-ray fluorescence analysis to confirm the metallurgical content suggesting its ancient origin and lack of modern trace elements. Size: D:18.75mm / US: 8 3/4 / UK: R; Weight: 5.6gProvenance: Private Central London collection; ex. UK art market 1990s. This item has been cleared against the Art Loss Register database and comes with a confirmation letter.

STATUETTE DE TSANGNYON HERUKA EN ALLIAGE DE CUIVRETIBET CENTRAL, PROVINCE DE TSANG, FIN DU XVE/XVIE SIÈCLE Himalayan Art Resources item no. 31441 41 cm (16 1/8 in.) high    Footnotes:A COPPER ALLOY FIGURE OF TSANGNYON HERUKA   CENTRAL TIBET, TSANG PROVINCE, LATE 15TH/16TH CENTURY  Published  Marylin Rhie & Robert Thurman, Wisdom and Compassion: The Sacred Art of Tibet, Expanded Edition, 2000, New York, p. 443, no. 196 (67a).  Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 451, no. 198.  Exhibited  Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 —19 February 2017.  This is one of the largest bronze sculptures of Tsangnyon Heruka (1452-1507), perhaps second only to a repoussé figure in the Pritzker Collection (HAR 58303). Guised as a mahasiddha, the 'Madman of Tsang' wears a tiger-skin apron and a cross-belt fashioned from bones. Notably, he resembles the preeminent mahasiddha, Virupa (8th-9th century), who is often shown with an elaborate topknot, a skull cup, and a raised right arm. Present iconography that distinguishes Tsangnyon Heruka from Virupa here include a Buddha within the central leaf of his crown, a corpulent deity located at the center of his cross-belt, a vajra formerly held in his right hand, and the absence of a flower sash or a sutra wedged in his hair. To the lower edge of this sculpture's base is added a vajra with fluttering ribbons and a pair crouching snow lions.  Originally an ordained follower of the Kagyu tradition, Tsangnyon Heruka abandoned monasticism to pursue the tantric life, garnering the epithet, the 'Madman of Tsang'. Inspired by early Indian texts and the mahasiddhas, he inhabited burial grounds, wearing and even eating what he found there. Despite his unusual behavior, Tsangnyon Heruka attracted numerous disciples as he travelled through Tibet and Nepal in the poet-saint Milarepa's (1052-1135) footsteps. He is one of Tibet's most celebrated authors, being among the first to have his works printed with woodblocks, funding and developing the technology which would have a profound effect on Tibetan culture. Tsangnyon Heruka's most famous writings include the biographies of Milarepa and Marpa (1012-97). He inspired a rich biographical tradition within the Kagyu, to which his pupils added those of Tilopa (988-1069), Naropa (956-1040) and Rechungpa (1084-1161).   Cast with piercing eyes and an immense stomach, this powerful sculpture was crafted in the non-gilt workshops of Tsang, the same province in Central Tibet where Tsangnyon Heruka was from. The style of the necklace and densely packed lotus pedestal are reminiscent of imperial Chinese bronzes gifted to prominent Tsang monasteries, such as a large Yongle Virupa now in the Cleveland Museum of Art (fig. 1; 1972.96). A similar sized Tibetan gilt bronze of Naropa from the 15th/16th century is in the Los Angeles County Museum of Art (M.2001.45). Lastly, compare two smaller Tsang examples, one of Virupa in the Rubin Museum of Art, New York (HAR 65219) and another of Tsangnyon Heruka in private hands (HAR 12755).For the figures listed in this essay, please refer to our printed or digital catalogue.藏紐赫魯加銅像藏中 十五世紀晚期/十六世紀著錄Marylin M. Rhie 及 Robert A. F. Thurman，《Wisdom and Compassion：The Sacred Art of Tibet》，2000年，紐約，頁480，編號196（67a）Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha：2000 Years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年，頁451，編號198 展覽「Buddha：2000 years of Buddhist Art，232 Masterpieces」，弗爾克林根，2016年6月24日至2017年2月19日 此尊威武的藏紐赫魯加（1452-1507）銅像為此題材目前已知最為龐大的銅像之一，或許僅次於普利茲克收藏中的一尊錘揲像（喜馬拉雅藝術資源網58303號）。這位「藏地狂人」身著虎皮裙，系骨製交叉飾帶，現身為大成就者之形象。值得注意的是，其貌酷似傑出的成就者毘魯巴（八至九世紀）。毘魯巴常梳精致發髻，手持嘎巴拉碗，右臂上舉。此尊藏紐赫魯加像區別於毘魯巴的特征則包括：寶冠中央葉飾上見化佛、交叉飾帶中央亦有一尊富態的小型神像、右手原應所持一金剛杵，以及頭髮中無花飾或經書。其底座下緣增加一把飾以飄帶的金剛杵，以及一對蹲伏的雪獅。藏紐赫魯加本是噶舉派的受戒弟子，後因追求密宗生活而放棄修道，被稱為「藏地狂人」。受早期印度典籍與大成就者的啟發，他居於墓地，穿戴甚至食用他於此處所覓得之物。盡管行為瘋癲異常，藏紐赫魯加追隨詩歌聖人密勒日巴（1040-1123）的腳步遊歷西藏與尼泊爾，仍然吸引著無數信徒。他是西藏最負盛名的寫作者之一，作爲第一批使用木版印刷術印其著作的人，其資助並發展這項技術，無疑對西藏文化產生了深遠影響。藏紐赫魯加的最著名之作包括為密勒日巴以及瑪爾巴（1012-97）所作之傳記。其引發了噶舉派內蓬勃而豐富的傳記傳統，其弟子又為帝洛巴（988-1069）、那洛巴（956-1040）以及熱瓊巴（1084-1161）立傳著書。此造像雙目犀利、大腹便便，由後藏採用非鎏金工藝之工坊所製，而位於西藏中部的這個地區正是藏紐赫魯加的故鄉。項鏈的風格和緊密排列的蓮花花瓣令人聯想到彼時中國朝廷贈送給西藏顯赫寺院的銅像，例如現藏於克利夫蘭藝術博物館的一件大型永樂毘魯巴像（圖1，1972.96）。洛杉磯郡立藝術博物館則收藏一尊十五或十六世紀之銅鎏金那洛巴像（M.2001.45）。最後，此拍品亦可與兩件較小的後藏作品進行比較，一件是紐約魯賓藝術博物館所藏毘魯巴像（喜馬拉雅藝術資源網65219號），另一件為私人收藏之藏紐赫魯加像（喜馬拉雅藝術資源網12755號）。關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

STATUETTE DE VAJRABHAIRAVA EN ALLIAGE DU CUIVRE DORÉNÉPAL, XVE SIÈCLE Himalayan Art Resources item no. 1823 14 cm (5 1/2 in.) high  Footnotes:A GILT COPPER ALLOY FIGURE OF VAJRABHAIRAVA   NEPAL, 15TH CENTURYPublished Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, p. 381, no. 102D.  Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 338, no. 142.   Exhibited  Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 —19 February 2017. Provenance Christie's, London, 10 November 1976, lot 164  Philip Goldman, London  Sotheby's, New York, 21 March 2002, lot 61  Vajrabhairava arises as a tantric emanation of the Bodhisattva of Wisdom, Manjushri. Of Indic origin, his fearsome form derives from one of the avatars of Lord Shiva. He is represented with nine heads in three stacked tiers of which the main face features the head of a buffalo. His primary hands carry a skullcup and hooked knife in front of his chest. Thirty other hands encircle his torso, each holding an implement as well. Described as an archetype of fear itself, though an image of enlightened awareness, successful tantric meditation on Vajrabhairava promises to absorb and transmute one's understanding and experience of death (Henry Rice & Durham, Awaken, 2019, p. 116-9). The small portable size of this figure limits no elaboration of its detail. Typical of Newari craftsmen, who served as itinerant artisans throughout Tibet, careful modelling illuminates the decadence of tightly-fitted details, as coincides with another of the subject (Christie's, New York, 20 March 2012, lot 112). Constructed in three parts - the lotus base, the intermediary tier of trampled gods, and the main figure - each component is rendered with minute and exacting detail. A slightly larger mirror example of the composition is held in the Victoria & Albert Museum, London (fig. 1; IM.173-1920). The extended platform of the lotus base lined with flame-like patterns references the Sun God Surya's charioteer drawn by seven horses on the left. Chandra, the Moon God, is depicted surrounded by animal representations of the other planetary deities on the right. The surmounting tier features Hindu gods with bodies, cast in full, awaiting to be crushed as Vajrabhairava spreads his weight across his floating stage overhead. The workmanship of the main figure, replete with deific ornamentation, including the beaded swags, severed-headed garland, and individualized implements, captures the deliberation of each detail. Given its diminutive size, this vividly cast portrayal of the tantric form reflects the legacy and technical precision for which metalworkers of the Kathmandu Valley are celebrated. For the figures listed in this essay, please refer to our printed or digital catalogue. 銅鎏金大威德金剛像 尼泊爾 十五世紀 著錄 Ulrich von Schroeder，《Indo-Tibetan Bronzes》，1981年，頁381，編號102DMeinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha：2000 Years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年，頁338，編號142 展覽 「Buddha：2000 Years of Buddhist Art，232 Masterpieces」，弗爾克林根，2016年6月24日至2017年2月19日來源 佳士得，倫敦，1976年11月10日，拍品164 Philip Goldman，倫敦 蘇富比，紐約，2002年3月21日，拍品61 大威德金剛為象徵智慧之文殊菩薩忿怒相。其駭人形象源自印度偉大濕婆神之化身之一。大威德金剛具有九面，列為三層，主面為牛。其主臂當胸，一手持嘎巴拉碗，一手持鉞刀。另三十手臂則各持法器，如光環繞其身軀。大威德金剛被描述為「怖畏」本身之象徵，然而亦是已開悟正覺之神祇，修行大威德金剛之秘法，成就修行者對死亡體悟之轉化、勝伏死主。 該像之尺寸小巧易攜，然而卻毫不影響其細節之精美，呈現紐瓦爾造像之典型風格。紐瓦爾人受藏人委託造像，成為流動的工坊，其活動遍布西藏各地。銅像精心鑄造之造型，體現出緊實的裝飾風格的衰退，與另一尊大威德金剛像（佳士得，紐約，2012年3月20日，拍品112）不謀而合。本尊造像由三個獨立部分構成：蓮花座、中層被踐踏之外神，以及主尊本身，而每部分皆被賦予細微而精準的細節。倫敦維多利亞與艾爾伯特博物館有一尊尺寸稍大、構造類似之造像（圖1，IM.173-1920）。蓮座向上延伸，托舉一排火焰，左側由七馬所拉之太陽神蘇利耶之戰車，右邊則為象徵其他行星神明之動物所簇擁之月亮神錢德拉。底座最上層為印度教諸神，鑄造以完整身形，即將遭受大威德金剛踩其頭頂浮台之重壓。大威德金剛周身滿綴昭示其神祇屬性之裝飾元素，如其層層珠串、頭顱長鍊以及屬其所用之法器，彰顯著工匠對每一細節的深思熟慮。體量如此之小像，卻栩栩如生地呈現此尊構造複雜之密宗神祇，展現出加德滿都河谷備受讚譽的金屬製造工匠的高超技藝與傳奇。關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。Lot to be sold without reserve.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

STATUETTE DE VASUDHARA EN ALLIAGE DE CUIVRE DORÉNÉPAL, DÉBUT DE L'ÉPOQUE MALLA, XIVE SIÈCLEHimalayan Art Resources item no. 1827 17.8 cm (7 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF VASUDHARANEPAL, EARLY MALLA PERIOD, 14TH CENTURY Published Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 322, no. 134.Exhibited  Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 —19 February 2017.  Provenance  Private Missouri Collector  Sotheby's, New York, 18 December 1981, lot 21  Sotheby's, New York, 6 October 1990, lot 313  Greatly revered in the Nepalese Buddhist tradition, the goddess Vasudhara provides both spiritual and material prosperity. Boons of fertility, sustenance, wealth, and wisdom are represented in her hands with a water pot, sheaf of grain, strand of jewels, and the Prajnaparamita Sutra, respectively. Vasudhara's body, opulently adorned with jewelry, signifies her bodhisattva status – a conduit being traversing between her earthly existence and celestial body for the benefit of mankind. A principal deity that arose in tandem with the formation of Buddhist cults in Nepal, Vasudhara holds harmony in her aureole of arms and a warm expression of empathy and generosity.  Modeled with supple forms and flexible gestures, sculptural depictions of Vasudhara reached an artistic denouement during Nepal's Early Malla period (13th-14th century). This sculpture's sensuous contours, gentle quietude, and luxurious ornament exemplify the Early Malla style. In Nepal, almost all female goddesses were depicted with round breasts, youthful bodies, and benign faces, a continuation of Indian aesthetics which held a long tradition of intertwining divine and sensual forms as compatible attributes. Evident in other examples of the goddess Vasudhara, these ritualized conventions of posture and expression are rarely deviated from. One of a similar period sold at Christie's, Hong Kong, 30 November 2020, lot 3012, shares similarly taut yet fleshy figural characteristics. In another example, a Manjushri of the same period (Bonhams, New York, 20 March 2018, lot 3203) with thin arching eyebrows resting over wide lids, a rounded chin, and pursed lower lip under the tip of the nose mirrors this Vasudhara's facial features with a beautified expression of quiescence. A third closely related example is held in the Cleveland Museum of Art (fig. 1; 1947.493). Of equal importance to the figural form is the minutia of inlaid semi-precious stones on all the adorning jewelry and implements. The earrings, lobes, pendants, clasps, and bands each feature an arrangement of opaque and translucent gemstones in colors of blue, green, turquoise, purple, and maroon. The crown type too, with a period-specific gemmed-roundel encompassed in a crescent and flanked by two jewel-encrusted lobes, is reflected in the crown of a standing Maitreya formerly of the Maitri Collection (Bonhams, New York, 20 March 2018, lot 3205). Here, distinctively setting the present example apart from other castings of the same period, the water pot, or 'treasure vase', that contains empowerments of long-life in Vasudhara's lap is lavishly ornamented with turquoise, garnets, and lapis.For the figures listed in this essay, please refer to our printed or digital catalogue.銅鎏金財源天母像尼泊爾 馬拉王朝早期 十四世紀著錄 Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha：2000 Years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年，頁322，編號134 展覽「Buddha：2000 Years of Buddhist Art，232 Masterpieces」，弗爾克林根，2016年6月24日至2017年2月19日來源密蘇里州私人珍藏蘇富比，紐約，1981年12月18日，拍品21蘇富比，紐約，1990年10月6日，拍品313財源天母賜予著信眾精神層面之富足與世俗生活之安逸，於尼泊爾佛教之傳統中尤受尊崇。其所應承之豐富：繁衍、豐饒、財富與智慧，皆由手持之寶瓶、穀穗、珠串以及《般若波羅蜜多心經》經卷所一一象徵。其周身裝飾以華麗珠寶，彰顯其菩薩之神格——穿梭於塵世之體與天人之靈之間，以賜福凡人。隨著佛教敬拜於尼泊爾之興起，財源天母亦成為一尊重要神祇，在這鬱鬱蔥蔥的山谷之中備受珍愛。其手臂伸展，如舞姿般的光暈，映襯著慷慨而柔切的溫暖面容。財源天母之造像于尼泊爾馬拉王朝早期（十三至十四世紀）達致藝術極致，身形柔軟，姿態靈動。豐滿有致的身體輪廓、寧靜柔和的神色與奢華的裝飾皆體現了馬拉王朝早期風格。幾乎尼泊爾所造之所有女神像都如此尊一般，乳房圓潤、體態年輕、面目溫良，延續著使天人神性與悅目感性交織在一起的印度美學傳統。觀其他財源天母造像便可知，這些已被賦予儀式範例化的姿勢與表情甚少出現偏離。一件相近時期的拍品（佳士得，香港，2020年11月30日，拍品3012）便呼應了她緊致豐滿的身材。另一可比較之例為同一時期之文殊菩薩像（邦瀚斯，紐約，2018年3月20日，拍品3203），其細眉拱于寬闊的眼瞼上，下巴圓潤，下唇抿起、正近鼻尖，與此尊財源天母面部特徵如出一轍，呈現對靜態神情之美感化表達。第三件與之密切相關之作收藏於克利夫蘭藝術博物館（圖 1；1947.493）。與人物形像同等重要的，是所有珠寶飾物與法器所嵌各色半寶石所構成的精妙細節。耳鐺、吊墜、臂釧及各處葉形裝飾皆鑲有或透明，或不透明的藍、綠、青綠、紫和褐紅色寶石。寶冠同樣如此，月牙形中包圍著近似圓牌樣的寶石鑲嵌，其兩側為各鑲寶石的小葉，呈現出此時期的特徵，與之前邦瀚斯「Maitri」珍藏專拍一件彌勒立像（邦瀚斯，紐約，2018年3月20日，拍品3205）如出一轍。區別於同時期的其他銅像，此件財源天母像置於腿上的用于祈求長壽的寶瓶，飾有綠松石、石榴石及一排花瓣般的青金石，華麗非常。關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

STATUETTE DE VAJRAPANI EN LAITON AVEC INCRUSTATION D'ARGENTTIBET CENTRAL, XIE/XIIE SIÈCLEHimalayan Art Resources item no. 1831 68.6 cm (27 in.) highFor further information on this lot please visit Bonhams.com

STATUETTE D'AMITAYUS EN ALLIAGE DE CUIVRE PARCELLEMENT LAQUÉ DORÉDYNASTIE QING, MARQUE À SEPT CARACTÈRES ET ÉPOQUE QIANLONG (1736-95)An inscription in Chinese around the front rim of the base, translated:  'The Buddha of Infinite Life.';An inscription in Chinese at the reverse of the base, translated:  'Practice and Conduct are Foundational.' Himalayan Art Resources item no. 1812 16.5 cm (6 1/2 in.) high  Footnotes:A PARCEL GILT LACQUER COPPER ALLOY FIGURE OF AMITAYUS    QING DYNASTY, QIANLONG SEVEN-CHARACTER MARK AND OF THE PERIOD (1736-95)  Provenance  American Private Collection, acquired in China prior to 1940, and thence by descent. Seated with the elixir of long life in his lap is Amitayus, the Buddha of Infinite Life, whose gentle countenance reflects his compassion and desire to save all sentient beings. Invoked for his ability to prolong the lifespan of devotees, Amitayus was an especially popular subject of worship for the Manchu rulers of China. Depictions of this deity were often made in groups as celebratory birthday gifts whenever an emperor or a member of the royal family reached a milestone in age. This practice first began with the Kangxi emperor (1662-1722) and continued under the reign of his equally famous grandson, the Qianlong emperor (1736-95), who presented thousands of Buddhist images to his mother on the occasion of her 60th, 70th, and 80th birthday.   As indicated by the seven-character reign mark, 'Made with reverence in the Qianlong era of the Great Qing', this parcel-gilt bronze belongs to an incredible group of works located in one of eight Buddhist halls within various palaces of the empire. Only two of these halls have been documented, both of which are located in the Forbidden City: the Tower of Precious Forms, or Baoxianglou (published in Clark, Two Lamaistic Pantheons, 1937), and the Hall of Buddhist Efflorescence, or Fanhualou (published in, Fanhualou – Statues in the Sanctuary of Buddhist Essence, Vols. I-II, 2013). Each hall originally contained a configuration of 787 sculptures for private imperial use, with the Baoxianglou pantheon completed in 1771, honoring the Empress Dowager's 80th birthday and the Fanhualou pantheon in 1774 which would later become Qianlong's retirement palace. Both iconographic programmes were conceived by Rolpai Dorje (1717-86), the highest-ranking Gelugpa lama in the Qing court as well as Qianlong's personal teacher and childhood friend. Due to the sheer number of images that were required for each location, these bronzes convey differences in artistic training and preference. Some emulated the rounder features of early Ming statuary, whereas in the case of this figure, the beak-like nose and pointed chin draw a connection to Mongolian artists following in the style of Zanabazar (1635-1723). For examples of Qianlong bronzes bearing a seven-character reign mark in past auctions, see two sold at Sotheby's, New York, 17 March 2015, lot 376; and 16 March 2016, lot 371; as well as a third sold at Christie's, New York, 22 March 2007, lot 215. 局部漆金無量壽佛銅像清 乾隆（1736-95年） 「大清乾隆年敬造」款蓮座正面下沿刻「無量壽佛」；背面刻「功行根本」來源美國私人收藏，1940年前得於中國，後由家族傳承此尊雙手持寶瓶之造像為無量壽佛，其溫和面容展現慈悲與拯救一切眾生之大願。由於其延年益壽的能力，無量壽佛在中國滿清統治者中乃是廣為流行的崇拜對象。無量壽佛像通常是在慶祝皇帝或皇室成員大壽時，作為賀禮而成組製作的。這一做法始於康熙皇帝（1662-1722年），並在他同樣著名的孫子——乾隆皇帝（1736-95年）統治時期得以延續，後者為其母六十、七十、八十大壽獻上了數以千計的佛教作品。正如其七字款識「大清乾隆年敬造」所示，這尊局部漆金銅像屬於一組令人驚嘆的作品，它們被供奉於皇宮內的八間佛樓之一。八間中僅有兩間佛樓被記錄成書，二者均位於紫禁城內：寶相樓（見Clark著，《Two Lamaistic Pantheons》，1937年）與梵華樓（見王家鵬主編，《梵華樓藏寶 ‧ 佛像》，全二冊，2013年）。每間佛樓最初都供奉了787尊皇家私用造像。寶相樓眾佛像於1771年完工，以賀太后八十大壽；而梵華樓之神佛殿堂則於1774年完工，後成為乾隆退位寢宮的一部分。此二次造像工程皆由若必多傑（1717-86年）設計，其為清廷最高階格魯派喇嘛、乾隆的私人上師兼童年好友。由於每間佛樓所需作品數量龐大，這些銅像因諸多藝術家們所受訓練或個人偏好不同而呈現不同風格。有些作品效仿明初造像的面目圓潤的特徵，而這尊佛像的尖狀鼻子和下巴則與承襲扎納巴扎爾（1635-1723年）風格的蒙古藝術家們有關。刻乾隆七字年款之銅像，可參見紐約蘇富比於2015年3月17日（拍品376）和2016年3月16日（拍品371）所呈現之兩件拍品，以及紐約佳士得於2007年3月22日（拍品215）拍出之另一例。Lot to be sold without reserve.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

STATUETTE DE VIRUPA EN ALLIAGE DE CUIVRE DORÉATTRIBUÉE À SONAM GYALTSEN (A. XVE SIÈCLE), TIBET CENTRAL, VERS 1430-50 A Tibetan inscription around the rim of the base: ན་མ་ཤྲི་བིརྦ་པ་ཡ། Translated: 'Homage to Sri Virupaya!'Himalayan Art Resources item no. 1819 14.6 cm (5 3/4 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF VIRUPAATTRIBUTED TO SONAM GYALTSEN (A. 15TH CENTURY), CENTRAL TIBET, CIRCA 1430-50 Published Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 426, no. 186.  Exhibited  Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 —19 February 2017.   This Tibetan sculpture pays homage to one of the great luminaries of Indian Buddhism, the 9th-century Buddhist master, Virupa. Like other mahasiddhas (great adepts) of the medieval period, Virupa spent years in formal Buddhist training before withdrawing from monastic life to follow his own path. He is credited with a hyper-efficient meditative practice known aslamdre('the Path with the Result'), which was later introduced to Tibet by the Indian teacher Gayadhara (d. 1103) and became a central tantric tradition within the Sakya school. Formerly an abbot of Nalanda, Virupa received the 'Path', which is based mainly on theHevajra Tantra, from the deity Vajra Nairatmya after giving up on decades of unsuccessful attempts at the Chakrasamvara Tantra. His subsequent rituals cost him his affiliation, as other members of the monastic hierarchy frowned upon his use of meat and alcohol. Banished from Nalanda, he wandered as a yogin performing a number of miracles.   No other mahasiddha is so well-developed in terms of varied appearance. In this 15th-century work, the saint holds his hands in the 'teaching gesture', a mimetic mudra in reference to the Buddha's first teaching at Deer Park. He sits on a lotus seat covered with an antelope skin, customary in portraits of the great siddhas. Full bodied, with a gana-like affect, his figure and wide-eyed gaze relates to two other portraits, one published in Heller, Tibetan Art, 1999, p. 164, no. 89 and another sold at Bonhams, Paris, 12 June 2023, lot 10. All three are richly gilded with turquoise insets and corresponding floral decorations and incised details. All wear a garland around their necks, though this example depicts it draped in a bias across his body. Rich chasing of Ming-inspired floral patterns along the lower garment, here and in the lot sold at Bonhams Paris, pay tribute to artistic exchanges between China's Imperial court and Tibetan sects. Crisp lotus roundels in the rear, for instance, faithfully reproduce the motif found in embroidered Chinese silks, such as a textile preserved in the Metropolitan Museum of Art, New York (fig. 1; 1997.380). Exemplifying a period of marked refinement in Tibetan art history, this gilt bronze sculpture of Virupa bears the hallmarks of the master sculptor, Sonam Gyaltsen, active in the second quarter of the 15th century. The artist's hand is evident, with interchangeable aspects of style and technique to that of a gilt-bronze figure of Avalokiteshvara Sahasrabhuja Ekadasamukha, circa 1430, identified by inscription to have been made by Sonam Gyaltsen, which was sold at Bonhams, New York, 19 March 2018, lot 3033. Such identical features manifest in the turquoise-insets and the incised decoration, particularly the hatch marks within floral motifs. Furthermore, the treatment of the lotus base, with plump petals terminating in curlicue tips at the front, and simplified flattened petals at the back, is consistent with the inscribed Avalokiteshvara. The present bronze's base plate is gilded which is also a feature of Sonam Gyaltsen's work. As noted in the inscription of the Sonam Gyaltsen Avalokiteshvara, the master craftsman had the patronage of the Rinpung dynasty, specifically the third monarch, Norbu Zangpo (1403-66) who ruled between 1435-66. The dynasty's seat of power was in Shigatse, Tsang Province in Central Tibet, and its rulers mostly patronized the Sakya order, for whom Virupa is a root guru.For the figures listed in this essay, please refer to our printed or digital catalogue.銅鎏金毘魯巴像應為索南堅贊（活躍於十五世紀）之作 藏中 約1430至50年著錄 Meinrad Maria Grewenig 及 Eberhard Rist 編, 《Buddha：2000 Years of Buddhist Art，232 Masterpieces》， 弗爾克林根，2016年，頁426，編號186 展覽 「Buddha：2000 Years of Buddhist Art，232 Masterpieces」， 弗爾克林根，2016年6月24日至2017年2月19日這尊西藏造像致敬了印度佛教一位傑出人物——公元九世紀的佛教大師毘魯巴。與中古時期其他大成就者一樣，毘魯巴歷經數年正統佛教訓練之後，選擇退出寺院生活，遵循個人的修道之路。他聞名於一種被稱為「道果法」的高效冥想修行法，此法後來由印度班智達迦耶達羅（逝於1103年）引入西藏，並在薩迦派內部演變為核心密續傳承。毘魯巴曾擔任那爛陀寺住持，在放棄了修行數十年未果的《勝樂金剛密續》之後，從金剛無我佛母處獲得以《喜金剛密續》為基礎的「道」。然而毘魯巴後來飲酒啖肉的行為，觸犯寺院眾怒，遂被逐出那爛陀寺，其後便以瑜伽士外相雲遊四方，呈現諸多奇跡。在所有大成就者中，僅有毘魯巴展現出如此多樣化的外觀。這尊十五世紀的作品呈現聖人雙手持說法印，模仿佛陀在鹿野苑初次講法時所持手印。其安坐於鋪有羚羊皮的蓮花座上，為大成就者的造像之常見特徵。他身形飽滿、怒目圓睜，身與眼皆與另外兩尊造像十分相似，形成三聯群像式效果：其一收錄於Heller所著《Tibetan Art》（1999年，頁164，編號89） ，另一尊於2023年6月12日由巴黎邦瀚斯釋出（拍品10）。此三尊造像皆施以華美鎏金，並嵌綠松石，且見一致花卉圖案和裝飾細節。此外，三者皆頸戴花環，此尊造像更將花環斜戴於身上。巴黎邦瀚斯釋出之例以及此拍品腿部見美麗花卉紋樣，為明代風格啟發，展現出中原之宮廷與西藏教派之間的藝術交流。後側所見之清晰蓮花團樣，幾乎可視為中國絲繡品之復刻——例如一件大都會藝術博物館所藏的絲織品（圖1，1997.380）。此尊銅鎏金毘魯巴像所展示的是一段西藏藝術史上風格精緻化的時期特徵，具有活躍於十五世紀約三十至五十年代間的藝術大師索南堅贊手筆。另一尊銅鎏金十一面千手觀音像（約1430年）之銘文記載其為索南堅贊製作，由紐約邦瀚斯於2018年3月19日釋出（拍品3033）。此觀音像與毘魯巴像之風格與工藝如此一致，如綠松石鑲嵌和裝飾刻畫上，尤其是花瓣內的刻線。此外，二者蓮花座造型亦一致，即正面花瓣飽滿，末端呈捲曲狀，背面花瓣簡潔而平整。此尊毘魯巴像造像封底見鎏金，亦為索南堅贊造像特徵之一。據索南堅贊所作觀音像銘文記載，這位大師接受的是仁蚌巴王朝——具體而言即1435至1466年間執行統治的第三任君主諾布桑波（1403-1466年）之贊助。該王朝的權力中心位於西藏中部的日喀則，其統治者大多支持薩迦派傳承，此傳承正以毘魯巴為一根本上師。關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

AUTEL EN ALLIAGE DE CUIVRE DORÉ DÉDIÉ À TARA VERTENORD-EST DE L'INDE, KURHIKAR, ÉPOQUE PALA, XIE SIÈCLEHimalayan Art Resources item no. 1826 13 cm (5 1/8 in.) highFootnotes:A GILT COPPER ALLOY SHRINE TO GREEN TARA NORTHEASTERN INDIA, KURHIKAR, PALA PERIOD, 11TH CENTURY  The Mahayanist goddess, Tara, provides a primary source of refuge for Buddhists. Depicted here in the aspect of Syamatara, or Green Tara, which emphasizes her ability to save devotees from a variety of perils, she rests gracefully on her sovereign seat. Finely rendered, the miniature shrine is testament to the delicacy and intimacy of Buddhist bronzes produced during the Pala period of Northeastern India (8th-12th century), most of which have not survived to such a degree with their opulent gilding. Tara sits enthroned with her legs crossed and her gently curving hips swaying to one side. From this unencumbered pose, she offers her outstretched right hand in the 'gesture of charity', an emblematic mudra expressing her compassionate virtues. A blue lily (utpala) flowers by her left shoulder. The Pala period was a golden age in Buddhist art history, catalyzing pivotal aesthetic transformations that would become archetypal throughout many parts of Asia. Characteristic of cast-metal Pala images, this sculpture's diminutive size exemplifies the distinct portability of these bronzes—a trait which would enable their dissemination from the Indian subcontinent to Nepal, Tibet, Southeast Asia, and China. Several examples, including two standing Taras enshrined with the same basic iconography, including a rectangular stepped pedestal, a wide-petaled circular base, and a prabha surrounded by a flame border; finally, all are surmounted by a royal umbrella (chatra) decorated with fluttering celestial scarves (Ray, Eastern Indian Bronzes, 1986, figs. 150 & 171).   The present lot and the two standing images display idioms of the Kurkihar style, referring to an influential metal-casting atelier that serviced a nexus of Buddhist monasteries and pilgrimage sites within the state of Bihar, such as Nalanda and Bodhgaya. Formative examples include a seated Avalokiteshvara, sharing a similarly fleshy physiognomy and rounded face with wide features (ibid., fig. 267). A standing Vajrapani represents a very close stylistic parallel, having analogous designs of the flamed tips, folds within the billowing sashes, incised ornamentation along the lower part of the base, and fullness to the bodhisattva's face and physique (Zhang (ed.), Dependent Arising: Himalayan Art, 2017, p. 192, no. 65). Their similarities, showcasing the skilled syncretization of supple form and precise ornamentation, exemplify the sophistication and refined artisanry for which this region and period are renowned.銅鎏金綠度母像 印度東北部 庫基哈爾 帕拉時期 十一世紀 大乘佛教中，度母給予世人最主要的庇佑。此尊造像呈現其綠度母之形象，尤為彰顯度母救度信眾於種種災禍的能力。度母安然而優美地坐於寶座之上，其造型小巧與細節精緻，證實著帕拉時期（八至十二世紀）東北印度之佛教藝術之精緻水準與親近喜人之感。而此類造像大多未能以這樣金水完好之品相傳世。度母雙腿交疊，腰肢輕輕微向一側，坐姿從容自得，右手伸出，結與願印，意為慷慨施予，表現其慈愛與悲憫。 帕拉王朝為佛教藝術史上的一段黃金時代，其催生出諸多美學的核心演變，成為亞洲多地進行藝術創作之範本。此度母像為典型之帕拉時代所鑄銅像，其體量小巧、便於攜帶，正為帕拉銅像標誌性的特徵——令其得以經印度次大陸傳至尼泊爾、西藏、東南亞以及中原地區。相似之例中，參考兩尊度母立像（見Ray，《Eastern Indian Bronzes》，1986年，圖150及171），其基本圖式相同，包括矩形層級寶座、寬瓣圓形蓮座、火焰環繞之背光，以及飾有飄揚長巾之華蓋。 上述兩尊度母立像與本拍品一致，皆展示出庫基哈爾風格之特徵，即曾經為比哈爾邦內諸如那爛陀、菩提迦耶等錯綜連接之寺廟群及朝聖者聚居地所造像之工坊，影響深遠。與其同時期之重要作品則可參考一尊觀音坐像（同上，圖267），具有相似之飽滿面容，臉龐圓潤，五官突出。論及與此度母像風格之一致，如相似的火焰尖形、翻湧的長巾的堆疊、底座下緣所刻的裝飾性花紋，以及神祇身形與臉型的圓潤，皆可見於一尊金剛手菩薩立像，著錄於《緣起——喜馬拉雅藝術》，2017年，頁192，編號65。各例之相似性，展現出柔美人像與精準裝飾之巧妙結合，佐證著這一地域、這一時期之藝術創作所以聞名於後世之細膩與優美。This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

STATUETTE DU SEPTIÈME KARMAPA, CHODRAG GYATSO, EN ALLIAGE DE CUIVRE DORÉTIBET, XVIE/DÉBUT XVIIE SIÈCLEA Tibetan inscription at the back of the base: རྟོག་གེའི་ཀླད་འགེམས་ཆོས་གྲགས་རྒྱ་མཚོའི་ཞབས། Translated: 'Through reasoning confounding [others], to Chodrag Gyastso, I bow!' Himalayan Art Resources item no. 1824 16.8 cm (6 5/8 in.) high  Footnotes:A GILT COPPER ALLOY FIGURE OF THE SEVENTH KARMAPA, CHODRAG GYATSO  TIBET, 16TH/EARLY 17TH CENTURY  Published Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 474, no. 210.  Exhibited  Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 —19 February 2017.  Provenance Private European Collection Representing the Seventh Karmapa, Chodrag Gyatso (1454–1506), this figure holds the mudra indicative of one's bodhisattva commitment. The Karmapa wears the black hat emblematic of his office as the leader of the Karma Kagyu order. A great deal of attention has been given to Chodrag Gyatso's robes, which are embellished with incised floral and cloud patterns, and an impressively weighted outer cloak which hangs off the back of the lama's shoulders, illuminating a thick hem with circular medallions and vertical pleats.  By the 13th century, religious communities in Tibet sought to create patterns of succession whereby charismatic leaders would transfer their office and wealth to the next generation, thus maintaining firm economic, social, and political foundations for their institutions. The Karma Kagyu may have been the first to initiate a mode of institutional succession based on reincarnation. This ensured political continuity and eliminated the debilitating sibling rivalry that inevitably plagued biological succession. Ultimately, this facilitated a, 'transition from charisma of person to a charisma of office' (T.V. Wylie, 'Reincarnation: A Political Innovation in Tibetan Buddhism', Proceedings of the Coma de Koros Memorial Symposium, ed. Louis Ligeti, Budapest, 1978: 579-86, p. 584).   The figure's softly portrayed facial features parallel others from the Kagyu tradition of the same period including examples of the First and Sixth Shamarpa (Bonhams, Hong Kong, 5 October 2020, lots 15 and 18), the Fourth Shamarpa from the Claude de Marteau Collection (Bonhams, Paris, 12 June 2023, lot 35), and one of an identified Karmapa (Bonhams, Hong Kong, 30 November 2022, lot 1029).銅鎏金七世噶瑪巴確札嘉措像西藏 十六世紀/十七世紀早期著錄Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha：2000 Years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年，頁474，編號210展覽「Buddha：2000 Years of Buddhist Art，232 Masterpieces」，弗爾克林根，2016年6月24日至2017年2月19日來源歐洲私人珍藏此尊莊嚴而寧靜的造像呈現七世噶瑪巴確札嘉措（1454–1506），其手印獨特，表徵菩薩之發願。噶瑪巴戴黑帽，象徵其為噶瑪噶舉內之領袖地位。確札嘉措之袍服在此得到極為細緻呈現，刻以精巧花樣以及雲紋。而自其背後可見一件頗為厚重之垂落於肩下，寬大衣領上刻團紋，並表現以垂直褶皺，十分富麗。至十三世紀，西藏的宗教社群尋求創建一種繼承模式，使得卓有聲望之領袖得以將其職位與財富交予下一代，從而穩固其體系之堅實的經濟、社會與政治基礎。噶瑪噶舉或許是第一個以轉世為基礎而建立傳承模式之派系。此舉確保了政治之連續性，並消除了血緣繼承所不可避免的手足相憎、相殘。最終，這促成了一種「將人之個體魅力轉化為一個傳承所固有之魅力」（見T.V. Wylie，〈Reincarnation：A Political Innovation in Tibetan Buddhism〉，《Proceedings of the Coma de Koros Memorial Symposium》，Louis Ligeti 編，布達佩斯，1978年，頁584）。造像所呈現的柔和的面部特徵，與同一時期噶舉傳承中的其他造像十分相似，例如一世及六世夏瑪巴像（邦瀚斯，香港，2020年10月5日，拍品15及18），來自克勞德 · 德 · 馬圖收藏之四世夏瑪巴像（邦瀚斯，巴黎，2023年6月12日，拍品35），以及另一尊身份未定之噶瑪巴像（邦瀚斯，香港，2022年11月30日，拍品1029）。Lot to be sold without reserve.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

STATUETTE DE VAJRADHARA EN ALLIAGE DE CUIVRE DORÉNÉPAL, DÉBUT DE L'ÉPOQUE MALLA, XIVE SIÈCLEHimalayan Art Resources item no. 20418 42.5 cm (16 3/4 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF VAJRADHARANEPAL, EARLY MALLA PERIOD, 14TH CENTURY PublishedMeinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 336, no. 141. ExhibitedBuddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 —19 February 2017. ProvenancePrivate German CollectionChristie's, New York, 22 March 2000, lot 73 The Diamond Vehicle of Nepal Vajrayāna (the Diamond Vehicle), a practice developed during the later stages of Buddhism, sees the proliferation of deities subject to the religious school or, at times, even the monastery. In addition to a rich pantheon inherited from the Indian tradition are countless entities characterised by iconographies of varying complexity. These are evoked during rituals that are sometimes esoteric, carrying moral or philosophical significance. Although the relative importance as well as the hierarchy of these deities diverge from one religious order to another, above them is a supreme Buddha, whose essence embodies the essence of all buddhas. Depicted here is Vajradhara, who presides over the monks of the Sakya order, amongst others. With both palms crossed over the chest, he holds his two characteristic attributes, the vajra (thunderbolt-diamond) and the ghanta (bell). The shape of the vajra is reminiscent of a diamond sceptre. The purity, clarity, and indestructible nature of this gemstone demonstrate the reason it became an object of much fascination in tantric Buddhism. The deity's feet are tightly crossed, akin to a yoga pose. The immaculate craftmanship of the jewellery adorning the figure is borrowed from stylistic forms that were initially developed in Northern India. Notably, two ascending floral peduncles surround the centre of the floret tiara sitting above the forehead. This fashion of ornamentation is characteristic of Nepalese sculptures as well as those influenced by the Newar artistic tradition from around the 13th century onwards. On the base of the tiara is a sneering kīrtimukha mask. The knotted ribbons which snake around both sides of the head maintain the tiara in place. A pair of elegant armbands is illustrated on either arm with a large floret replicating those on the tiara. The deity wears three necklaces, each of varying shape and size. The length of the second necklace ends at the pectoral region and is largely hidden from view behind the vajra and the ghanta. A scarf, reduced to the form of a simple ribbon with intricate blossom motifs, encircles the arms, and billows around both shoulders in an elegant swirl, emphasised by a pair of turquoise gems. Small floral pendants hang from the sash around his waist. At the front, a fall of pleats interwoven around the crossed ankles opens out at calf level. The slight inclination of his head to the right suggests that the deity had once been accompanied by another statue, that of his consort, the goddess Vajradhātvīśvarī. His facial features are characteristic of Nepalese sculptures. As described in canonical texts, these youthful traits are those of an adolescent, including the 'beauty folds' marking the neck. A small dimple indents the chin and the lips curve up in a slight smile. Wide arched eyebrows frame his small almond-shaped eyes. On his forehead, the ūrṇā is represented by a rectangular turquoise, accentuating the precious value of the deity. The monumental size of the figure implies the likelihood of its veneration in a chapel. In the Kathmandu Valley, chapels are small rooms situated at the end of the courtyard in monasteries. The abundance of copper mineral along the Kathmandu Valley has for centuries fostered the development of a diversified metalcraft industry, including in the city of Patan. Despite being part of a Buddhist sub-caste, bronze artisans in Newar society accommodated the different religious and iconographic prescriptions of their clients. Their excellent craftmanship warrants the exceptional popularity and influence their works gained in Tibet or abroad–reaching Beijing from the 13th century onwards. The impeccable gilding that is achieved using an amalgam of mercury, as well as the frequent use of inlaid fine stones, gave the statues an esteemed presence. One may only imagine how they glowed beneath the scintillating luminosity of butter lamps in temples and chapels, enhancing the sanctity of these spaces. Gilles BéguinJanuary 2024銅鎏金金剛總持像尼泊爾 馬拉王朝早期 十四世紀著錄Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha：2000 Years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年，頁336，編號 141展覽「Buddha：2000 Years of Buddhist Art，232 Masterpieces」，弗爾克林根，2016年6月24日至2017年2月19日來源德國私人珍藏佳士得，紐約，2000年3月22日，拍品73尼泊爾之金剛乘金剛乘（Vajrayāna）作為佛教發展的最終階段，根據不同的宗派，有時甚至根據不同的寺廟，創造了眾多神祇。在其所繼承之印度傳統之萬神殿外，亦有諸多神祇或其他形象為後加，標識以種種複雜而多變之圖像學特徵。這些形象出現於神秘儀式之中，並承載著道德或哲學意義。儘管神祇們之相對重要性與上下傳承之位階，時而因不同宗教派別而異，然而，在他們的頂端，有一位至高無上的佛，其本質為所有佛之本質。此處所呈現之形象為金剛總持，居薩迦以及諸派之眾僧侶之上。其雙手交叉於胸前，握持兩件此神祇之象徵性法器：金剛杵與金剛鈴。前者為形似金剛石般的權杖。此寶石具純淨、閃光與不可腐蝕之特質，密宗佛教對其之熱衷之原因不言而喻。神祇的雙腿緊密交叉，猶如瑜珈姿勢。此造像之珠寶設計細緻無瑕，借鑒自起源於印度北部之古老樣式。其華冠便引人注目，兩朵花莖向上延伸，烘托著中央盛開的優美花盤。此種裝飾風格為尼泊爾造像以及那些十三世紀以來受尼泊爾造像影響而出現之造像之標誌性特徵。寶冠下緣中央見一張齜牙咧嘴的怪獸面具，即「天福之面」。寶冠以繒帶固定，兩端盤結於頭部兩側，如風中飄揚。優雅的臂釧上見一碩大花朵，形制與寶冠中央一致。神祇配戴三串項鍊，大小不一、樣式各異。第二串項鍊長度及頸下，大部分被其手中所持鈴杵遮擋。圍巾之樣式則簡明為細帶，刻以細密相連之花紋圖案，自然纏繞雙臂，再於肘部向上翻飛，呈現出優美的弧度，突出末端所托舉的綠松石點綴。腰帶上則懸掛下一枚枚小巧的花朵墜飾。視線落至神祇身前，層層衣褶從交叉的腳踝間流出，於小腿處形成一簇扇形。神祇的頭部微微向其右傾斜，暗示著其身旁曾另有一尊其明妃金剛界自在母造像相伴。神祇的面部體現尼泊爾造像的特徵。正如經文所描述，其面部年輕俊美，特徵正為少年人，包括環繞其脖頸的幾道細線所表示的「美麗褶皺」。下巴中央見一道淺痕，嘴角微微上揚，蘊含笑意。雙眉為大弧線，流暢舒朗，下方為小巧的杏眼。前額之白毫為一塊長方形的綠松石，烘托神祇之尊貴。鑑於其碩大的體量，此像可能曾供奉於一座小型廟堂。在加德滿都河谷之中，這一類廟堂通常位於寺院庭院的盡頭。豐富的銅礦資源沿河谷蘊藏，數個世紀以來造就了多樣的金屬手工藝的發展，帕坦市幾包含其中。儘管屬於佛教這一次支，銅藝匠人們卻能夠滿足眾多供養人之不同宗教以及圖像要求。他們精湛非凡的技藝，造就了作品之風靡，其深遠影響遠至西藏，甚至自十三世紀起，達至北京。其無可挑剔的以水銀合金而鎏金的工藝、頻繁而熟練的寶石鑲嵌，給予其作品他們的作品壯觀而輝煌之觀感。今人則僅可遙想，這些造像如何置於寺廟與佛堂的酥油燈的閃爍光線下，熠熠生輝，莊嚴著彼時的空間。Gilles Béguin2024年1月This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

PLAQUE DE PANJARANATA MAHAKALA EN LAPIS LAZULI AVEC MONTURE EN ALLIAGE DE CUIVRE DORÉTIBET, LA PLAQUE, XIIIE/XIVE SIÈCLE ; LA MONTURE, VERS XIXE SIÈCLE An inscription in Tibetan on the reverse of the plaque:  'Om Mani Hum'. Himalayan Art Resources item no. 1811 11.8 cm (4 5/8 in.) high  Footnotes:A LAPIS LAZULI AND GILT COPPER ALLOY MOUNTED PLAQUE OF PANJARANATA MAHAKALA  TIBET, THE PLAQUE, 13TH/14TH CENTURY; THE MOUNT, CIRCA 19TH CENTURY  Provenance Private French Collection Holding a flaying knife and skull cup and nestling a club in the crook of his arms, Panjaranata Mahakala is the fierce guardian of the Hevajra tantra cycles within the Sakya school of Tibetan Buddhism. Despite Mahakala's violent iconography, symbolizing the annihilation of karmic defilements, the sculptor refrains from depicting him with gruesome features. Instead, the artist envisions an approachable dwarf-like figure with a subdued grimace, emphasizing the deity's ultimately protective nature.  As the chief protector deity of the Sakya order, the Mongol Empire, and Khubilai Khan's personal god of war, Panjaranata Mahakala was popularized during the Yuan dynasty (1279-1368). The Mongols attributed many military victories, including their defeat of the Southern Song dynasty (1127-79), to their summoning of Mahakala with the assistance of Sakya hierarchs. The present use of lapis lazuli reflects a shared Mongol and Tibetan penchant for carving in semi-precious materials, enabled by the Yuan's control of trade and territories where they could be sourced. In early Buddhist practice, lapis lazuli was regarded as one of the 'seven jewels' (saptaratna) believed to be the Historical Buddha's earthly remains transformed through the fires of cremation. Lapis continued to be a highly prized material throughout antiquity, as exemplified by the present work's later mounting and diligent preservation. Comparatively, the deity's squat figural treatment and more pleasant affect, here, reflect the manner in which Panjaranata Mahakala was represented in Yuan Tibet and China during the late 13th and early 14th centuries. This is demonstrated by a limestone relief carving of Krodha Vajrapani at the Feilai Feng grottoes in Hangzhou (HAR 73235), as well as two other Tibetan steles of Panjaranata Mahakala, one of which is dated 1292 in the Musée Guimet, Paris (see both in, Watt et al., The World of Khubilai Khan: Chinese Art in the Yuan dynasty, 2010, pp. 108-9, nos. 141-2). The lot's attribution to this formative period in Tibetan art history is further supported by the close borrowing of the lotus base from northeastern Indian precedents of the Pala period (8th-12th centuries), such as a stele of Jnana Mahakala in the Los Angeles County Museum of Art (fig. 1; M.71.110.3).For the figures listed in this essay, please refer to our printed or digital catalogue.青金石鑲銅鎏金座寶帳大黑天像 西藏 十三/十四世紀（鑲座約十九世紀）來源法國私人珍藏此尊手握鉞刀和嘎巴拉碗、臂彎處持梃杖的雕像為寶帳大黑天，乃藏傳佛教薩迦派喜金剛密續部的忿怒護法。儘管大黑天的兇猛肖像象征消除業障，藝術家卻避免以可怖的特征描繪寶帳大黑天，反而將他構想成一尊可親近的矮胖形象，以柔和的鬼臉展現神祇的終極護法本性。作為薩迦派的主要護法神和忽必烈個人的戰神，寶帳大黑天在元朝（1279-1368年）是廣為流行的藝術題材。原因則為蒙古人將諸多戰功歸於在薩迦派協助下頂禮大黑天，如認為大黑天促成其戰勝南宋（1127–79年）等。此尊雕像用青金石，反映出其時蒙古與西藏共同的、對用半寶石雕刻神像的熱衷，而元朝對這些石料產地與貿易之控制，令此偏好更加成為可能。在早期佛教修行中，青金石被視作「七寶」之一，被認為是歷史上佛陀火化後的舍利轉化而來。青金石在古代始終是一種昂貴材料，本尊造像後來鑲嵌以底座並得以精心保存即是證明。以藝術風格而言，此尊造像的矮胖化處理以及憨態喜人之感，正為十三世紀末至十四世紀初元代漢藏兩地佛教藝術風格之代表。此風格顯見於杭州飛來峰之石灰岩忿怒金剛手浮雕（喜馬拉雅藝術資源網 73235號 ），以及另外兩尊寶帳大黑天藏地石碑——其一藏於巴黎吉美博物館，造於1292年（二者皆著錄於Watt等著，《The World of Khubilai Khan: Chinese Art in the Yuan dynasty》，2010年，頁108-9，圖141-2）。此外，該造像蓮座設計與源自印度東北部之帕拉時期（八至十二世紀）極為相似，如洛杉磯郡立藝術博物館所藏大黑天石碑所示（圖1，編號M.71.110.3），進一步佐證其出自西藏藝術風格形成時期之判斷。關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。Lot to be sold without reserve.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

PURBHA EN FER DAMASQUINÉ OR ET ARGENT AVEC SON ÉTUITIBET ORIENTAL, DERGE, XIVE SIÈCLE Himalayan Art Resources item no. 20590 22.2 cm (8 3/4 in.) long (2).Footnotes:A GOLD AND SILVER DAMASCENED IRON PURBHA WITH CASEEASTERN TIBET, DERGE, 14TH CENTURY    Published  A & J Speelman, Buddhist Works of Art, London, 1998, p. 74. no. 39.  Provenance  Christie's, New York, 20 September 2000, lot 131  The purbha, or kila, is a stake used to demarcate the sacred boundaries of a mandala in tantric rituals. In this instance, the implement's three faces and triple-sided blade personify the deity Vajrakila, whose power also enables practitioners to pin down external and internal hindrances within the ritual setting. Padmasambhava is said to have used the purbha, of Indic origin, to subdue evil spirits and convert the Himalayan region to Buddhism in the 8th century. The purbha's sculptural composition enlivened with gold and silver is laden with symbolism. Its triangular blade signifies the element of fire, or the wrathful energy required to pierce through the three poisons of ignorance, desire, and hatred. The blade protrudes from the mouth of a makara, which in turn reveals twisting nagas, or serpent deities, representing the water element and rituals for summoning rain. Above the makara's head is a lotus handle fashioned with endless knots, which alludes to the endless cycle of death and rebirth and is one of Buddhism's Eight Auspicious Emblems (ashtamangala). Surmounting the three heads of Vajrakila cast with wrathful expressions distinct from one another is a vajra-finial, serving to cap the implement's potent ritual energy.  Although historically purbhas were crafted in a variety of materials, the most powerful and efficacious were forged from meteoric iron, as seen in the following object. Also known as 'celestial iron', this metal was considered a superior medium for its apotropaic qualities in repelling demonic forces and maintaining a mandala's structural integrity. (Huntington & Bangdel, The Circle of Bliss, 2003, p. 506.) Certain technical aspects, such as the damascening and ring-punched decoration indicate its creation in Derge, eastern Tibet, which was famous for its ironwork foundries. Past scholarship has often attributed this type of work to the 15th century, as the Yongle emperor (1403-24) of the Ming dynasty commissioned sets of ritual implements on behalf of Tibetan monasteries (see a damascened iron club sold in Bonhams, Hong Kong, 5 October 2020, lot 102). However, the slimmer, elegant treatment of the following purbha—when compared to the broader faces, handle grips, and blades of Yongle works—suggests its earlier dating to the 14th century, instead relating more closely to a damascened iron scraper in the Metropolitan Museum of Art, New York (fig. 1; 1993.454). Also noteworthy are a small number of purbhas made from gold and silver damascened iron. One example is in private hands (HAR 58720) while another is published in Nathalie Bazin et al., Rituels tibétains: Visions secrètes du Vème Dalaï Lama (1617–82), 2002, p. 152, no. 115.For the figures listed in this essay, please refer to our printed or digital catalogue.鐵鋄金銀普巴杵 附銅盒藏東 德格 十四世紀 著錄 A & J Speelman，《Buddhist Works of Art》，倫敦，1998年，頁74，編號39 來源 佳士得，紐約，2000年9月20日，拍品131 普巴杵，梵文為kila，用於在密宗儀式中劃定曼荼羅神聖邊界。其三面三刃，為普巴金剛之化身，其法力能助修行者克服內外業障。根據傳說，八世紀時，蓮花生大士曾以起源於印度之普巴杵降魔伏妖，並將喜馬拉雅地區皈依於佛教。普巴杵以金銀表現之構造充滿象徵意義。三刃象徵火元素，乃刺穿貪、嗔、癡這三毒之忿怒能量。刀刃自摩伽羅口中深處，同時見蛇神那迦蜿蜒而出，代表水元素以及祈雨儀式。摩伽羅頭上有一蓮花柄，上飾有意為綿延不絕之盤長，為佛教「八寶」之一，暗示無盡的生死輪迴。頂部是普巴金剛三面，忿怒之相各不相同，再上見金剛杵，為這股無比強大的法力之頂。 歷史上，普巴杵可由許多不同材料製造，而最強大且有效的，莫過於隕鐵所製，正如此例所示。隕鐵又稱天鐵，被認為是具辟邪之特質以及保持曼荼羅結構的法力的最佳物質（Huntington 及  Bangdel，《The Circle of Bliss》，2003年, 頁506）。如鐵鋄和環形沖孔裝飾等此類工藝，表明其誕生於以鐵器作坊聞名的藏東德格。過去的學術研究經常將此類作品歸為十五世紀之作，因明朝永樂皇帝（1403-24）曾代西藏寺廟委託製作成套法器（可參考一件鐵鋄金銀骷髏杖，見邦瀚斯，香港，2020年10月5日，拍品102）。然而，與永樂作品的寬臉、握把和刀刃相比，此普巴杵之塑造更為纖細，亦更文雅，表明其或可追溯至更早的十四世紀，與紐約大都會藝術博物館一件鐵鋄刮刀（圖1；1993.454）較為相近。此外，鐵鋄金銀普巴杵亦值得關注，其中一例由私人收藏（喜馬拉雅藝術資源網59720號），另一例則著錄於Nathalie Bazin等所作《Rituels tibétains：Visions secrètes du Vème Dalaï Lama (1617–82)》，2002年，頁152，編號115。關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。Lot to be sold without reserve.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

STATUETTE DE SHRI DEVI EN ALLIAGE DE CUIVRE DORÉPAR 'SOGYAL', PROBABLEMENT SONAM GYALTSEN (A. XVE SIÈCLE),TIBET CENTRAL, MONASTÈRE DE DENSATIL, VERS 1431-35A Tibetan inscription on the rim of the base: དཔལ་ལྡན་ལྷ་མོ་སྲོག་སྒྲུབ་སྐུ། བསོད་རྒྱལ་ལག་པད་རྩེ་ལས་སྤྲུལ། ;pal den lha mo srog sgrub sku. bsod rgyal lag pad rtse las sprul;'The Shri Devi Life-Accomplishment sculpture, made by the hand of Sogyal.'Himalayan Art Resources item no. 1829 37.5 cm (14 3/4 in.) high For further information on this lot please visit Bonhams.com

STUPA EN ÉMAUX CLOISONNÉES ET ALLIAGE DE CUIVRE DORÉDYNASTIE QING, XVIIIE SIÈCLE64 cm (25 1/4 in.) high Footnotes:A CLOISONNÉ ENAMEL AND GILT COPPER ALLOY STUPAQING DYNASTY, 18TH CENTURY ProvenanceAn American CollectionChristie's, Paris, 13 June 2018, lot 209 This unusually large gilt-bronze and cloisonné enamel stupa follows the most ancient form of stupa replicating the monumental burial mounds of ancient India that were appropriated into Buddhism as depositories for Buddha's relics. The stupa is dominated at the centre by a large dome and aperture wreathed with gold, resting on a circular stepped base and surmounted by a tall spire consisting of thirteen stacked gold discs telescoping in size from large to small in an upward direction, representing the ten bodhisattva levels and the three stages of a buddha, tapering towards the top and crowned by an ornate parasol suspending strands of beads, and topped by a tapering flame diminishing into the state of luminosity-emptiness, all set on a gilt-metal tiered circular pedestal and entirely decorated with lotus scrolls on a vibrant turquoise ground. The elaborate shape of this stupa evolved over a long time. Originally, burial mounds were erected over the bodies of great teachers who were buried in a seated, meditative position. The basic form of the stupa was adopted by Buddhists who saw the dome of the stupa not just containing a great master seated in meditation, but Buddha seated in padmasana with his legs crossed in a meditative pose when he achieved enlightenment, his upright body represented by the tall spire of stacked discs, and the top of the spire representing his head. As Buddhist doctrine spread from India to Nepal, Tibet and China, the form of the stupa changed while their function remained the same. Stupa were made in large as well as smaller, scaled-down versions, and in many different materials, often containing small relics or a small image of Buddha. This large stupa would also have contained an image of the seated Buddha Amitayus, the Buddha of Infinite Life, within the cavity of the dome, the unmoving center, a space of stillness, peace, and enlightenment. The spire (yasti) symbolizing the axis mundi, centre of the cosmos bisecting sacred Mount Meru, centre of the Buddhist world, surrounded by a harmika and crowned by an umbrella (chattra). This impressive gilt-bronze and cloisonné enamel stupa was made in the 18th century, probably during the reign of the Qianlong emperor (1736-95), a devout practitioner of the Tibetan form of Buddhism. Its unusually large size, attention to detail including the multi-tiered base and stairs recall imperial architecture, suggesting that this stupa was commissioned by the Qing court. The strong imperial patronage of Tibetan Buddhism and the support of the Dalai and Panchen lamas of Tibet was an important point in pacifying the Tibetan-Mongolian subjects. Between the three Qing emperors Kangxi (1662-1722), Yongzheng (1723-35) and Qianlong (1736-95), twenty-five Tibetan Buddhist temples were founded, all three emperors being the dominant financial supporters. Under the Qianlong emperor, Beijing, Chengde and Mount Wutai in Shanxi were transformed into major Tibetan Buddhist centres, the emperor initiating and financing the construction of many monasteries of the dominant Gelugpa order. He similarly initiated the construction of Tibetan Buddhist shrines within his many palaces, dedicating the largest part of religious space within the Forbidden City to Tibetan Buddhist shrines with resident lama, see Chuimei Ho and Bennet Bronson, Splendors of China's Forbidden City. The Glorious Reign of Emperor Qianlong, New York, 2004, pp. 128-130. Six shrines dedicated to Tibetan Buddhism with a distinctive layout were constructed in the imperial residences for the emperor's personal use, three of them in the Forbidden City in Beijing. Each shrine consisted of six double-storied cells flanking a central hall, all furnished with large religious paintings, images, and ritual objects. In the Fanhua Lou, the Building of Buddhist Brilliance, located in the retirement compound of the Qianlong emperor in the Forbidden City, a monumental cloisonné enamel stupa is at the centre of each cell (Fig. 1), see The Complete Collection of Treasures of the Palace Museum, vol. 43, Metal-Bodied Enamel Ware, Hong Kong, 2002, pp. 148-149 and pl. 141; also Chuimei Ho and Bennet Bronson, op.cit., pp. 133-139. A pair of massive stupa can be seen flanking the main altar at the Pu-to-cong-cheng (Temple of the Potalaka Doctrine) at the Imperial Summer Retreat in Chengde, see A Special Exhibition of Buddhist Gilt Votive Object, Taipei, 1995, p. 20, fig. 5. As a sign of filial piety and devotion to Tibetan Buddhism, in 1777, the Qianlong emperor decreed a stupa be made of solid gold to store his mother's hair after her death together with an image of the Buddha Amitayus, see Chuimei Ho and Bennet Bronson, op.cit., pp. 152-153, fig. 181. Several cloisonné enamel stupa of 18th century date are known. Compare, for example, a cloisonné enamel stupa of the same size, also dated to the 18th century, in the collection of the National Museum of Art, Smithsonian Institution, Washington, DC, accession number F1991.6. A slightly smaller, gilt-bronze and cloisonné enamel stupa in the Palace Museum collection, Beijing, is published in The Complete Collection of Treasures of the Palace Museum, vol. 43, Metal-Bodied Enamel Ware, Hong Kong, 2002, pp. 150, p. 142. A smaller example formerly in the Ann and Gordon Getty collection, was sold in Christie's New York, 23 October 2022, lot 524.For the figures listed in this essay, please refer to our printed or digital catalogue.銅鎏金掐絲琺瑯佛塔清 十八世紀來源美國私人收藏佳士得，巴黎，2018年6月13日，拍品209這座構造龐大的銅鎏金掐絲琺琅佛塔，遵循了古印度存放佛陀舍利的墓丘佛塔的樣式。佛塔中央見大圓頂及開口，圓頂周圍鑲有金絲，底部是一個圓形階梯基座，上面是由十三個金盤組成的高塔尖，金盤由下至上尺寸遞減，代表十個菩薩層次和三個佛陀的階段，頂部是則為華蓋，懸掛串珠，並以逐漸變細的火焰作為頂飾，象徵光明空性的狀態。此構造安置於一個銅鎏金圓形底座上，整體裝飾有捲葉蓮紋，底色為鮮艷的綠松石色。大型佛塔內部成為一個靜止、安寧、和平與令人得開悟之空間，或曾供奉一尊無量壽佛像。尖塔（剎）象徵著世界的軸心，穿過須彌山正中，即佛教世界的中心。佛塔之鑄造工藝精湛，銅鎏金以及掐絲琺琅相映成輝，可能製作於十八世紀，或為乾隆皇帝（1736-95）在位期間。乾隆正是一位虔誠的藏傳佛教修行者。其不尋常的碩大尺寸，以及多層基座及階梯上的精緻細節，讓人聯想到皇家建築，表明這座佛塔可能是由清朝宮廷所委託而造。對藏傳佛教的鼎力資助，以及對西藏達賴和班禪喇嘛的支持，是清廷穩定藏蒙兩族人民的重要方式。在康熙（1662-1722）、雍正（1723-35）和乾隆（1736-95）三位皇帝在位年間，一共建立了二十五座藏傳佛教寺廟，而皇帝都是其主要的財政支持者。在乾隆皇帝統治下，北京承德以及山西五台山皆轉化為主要的藏傳佛教聖地，由皇帝發起並資助了許多當時極盛的格魯派的寺廟。同時，乾隆亦在其諸多宮殿內建立佛堂，將紫禁城內主要的宗教場所變為駐有喇嘛高僧之佛堂（見Chuimei Ho 及 Bennet Bronson，《Splendors of China's Forbidden City ——The Glorious Reign of Emperor Qianlong》，紐約，2004年，頁128-130。已知幾件亦為十八世紀之掐絲琺瑯佛塔可資比較。例如，一件同樣大小的掐絲琺瑯佛塔，收藏於華盛頓特史密森尼學會國家藝術博物館（編號F1991.6）。另一件略小的鎏金掐絲琺瑯佛塔著錄於《故宮博物院藏文物珍品大系43：金屬胎琺瑯器》，香港，2002年，頁150，圖版142。另一較小之例，曾屬於Ann 及 Gordon Getty 收藏，於2022年10月23日在紐約佳士得拍賣，拍品524。關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。Lot to be sold without reserve.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

STATUETTE DU FONDATEUR DE L'ORDRE DRIGUNG KAGYU, JIGTEN SUMGON RINCHEN PEL, SUR SON TRÔNE, EN ALLIAGE DE CUIVRE DORÉ AVEC INCRUSTATION D'ARGENTTIBET CENTRAL, MONASTÈRE DE DENSATIL, XIIIE/XVIE SIÈCLEHimalayan Art Resources item no. 1821 18.1 cm (7 1/8 in.) high Footnotes:A SILVER INLAID GILT COPPER ALLOY ENSHRINEDFIGURE OF THE FOUNDER OF THE DRIGUNG KAGYUORDER, JIGTEN SUMGON RINCHEN PEL CENTRAL TIBET, DENSATIL MONASTERY, 13TH/14TH CENTURY PublishedMeinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 392, no. 169. ExhibitedBuddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 —19 February 2017. ProvenancePrivate European CollectionSeated on an ornate throne is Jigten Sumgon Rinchen Pel (1143-1217), whose honorific appellation means, 'Precious One, The Protector of the Three Worlds'. He sits emulating the Buddha, as he holds the gesture referencing the proclamation of Gautama's enlightenment. Hearing the Kagyu master's name, Phagmodrupa (1110-70), Jigten Sumgon sought his dharmic teachings in the remote mountainous region, later to be known as Densatil. He became one of the earliest and most renowned practitioners under this guidance, extending the Kagyu lineage throughout Tibet. Donning a patchwork robe, Jigten Sumgon poignantly sits on a raised pedestal, in a double-entendre evoking Mt. Meru, the mountain at the center of Buddhist cosmology, and his own temporal seat of power as the founder of Drigung monastery and the Drigung Kagyu order in 1179. His order dominated the political landscape of Tibet in the late 12th and 13th centuries, enjoying great wealth and patronage. Through Jigten Sumgon's fame, the Drigung Kagyu's presence extended from a rocky mountainside in Central Tibet to eastern Tibet and as far west as India. According to his biography, images in Jigten Sumgon's likeness were produced in the thousands for disciples to carry with them as they traveled. In the early 13th century, his portrait appears as far west as Alchi (Jackson, Painting Traditions of the Drigung Kagyu School, 2015, p. 11, fig. 1.25). In many instances, painting and sculpture, he is immediately recognizable by his upright posture, athletic build, form-fitting monastic vest, tall forehead, and receding hairline (e.g., ibid., pp. 86 & 90, figs. 5.9 & 5.13A). This gilded portrait is among very few examples of Jigten Sumgon to be preserved with the original stepped-throne and decorative back-plate inlaid with semi-precious stones. Two other examples are located in Musée Guimet, Paris (fig. 1; MA 6032) and the Potala Palace, Lhasa (Jackson, 2015, p. 89, fig. 5.12). All three sculptures likely survive from Densatil rather than Drigung, which was razed to the ground in 1297. Lama portraits were part of the iconographic program of Densatil's famed tashi gomang stupas, on which several seated on similar thrones were photographed in 1948 (Czaja & Proser, Golden Visions of Densatil, 2014, p. 39, fig. 15). Portrait bronzes were also placed on shelves in front of a stupa erected for Jigten Sumgon at Densatil after his death in 1217 (ibid., p. 34, fig. 14). As one of Phagmodrupa's two principal adherents, Jigten Sumgon, was instrumental in Densatil's founding. He served as the monastery's second abbot and for much of the late 12th and 13th centuries, Densatil and Drigung were considered 'correlated sees' (Henss, Cultural Monuments in Tibet, vol. I, p. 621).For the figures listed in this essay, please refer to our printed or digital catalogue.銅錯銀鎏金直貢噶舉初祖吉天頌恭仁欽貝像藏中 丹薩替 十三/十四世紀著錄Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha：2000 Years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年，頁392，編號 169展覽「Buddha：2000 Years of Buddhist Art，232 Masterpieces」，弗爾克林根，2016年6月24日至2017年2月19日來源歐洲私人珍藏端坐於華麗寶座之上的是吉天頌恭仁欽貝（1143-1217年），意名為「珍寶者、三界怙主」。如其手印所示，其姿態效仿佛陀宣告成道時的坐姿。仁欽貝在聽聞噶舉派大師帕摩竹巴（1110-1170年）盛名後，前往偏遠山區希求妙法，此地後稱丹薩替。他後來成為最早且最著名的帕摩竹巴座下修行者之一，並將噶舉派傳遍藏地。仁欽貝身著樸素福田衣，暗示其為佛陀的虔敬弟子；其身下高臺既象徵佛教早期宇宙觀中的須彌山，又暗指這位1179年直貢噶舉派創始人的威嚴法座。其教派在十二世紀末至十三世紀主導藏地的政治格局，享有巨大的財富和供養。直貢噶舉憑藉仁欽貝的聲望，自藏中之山區向東擴展至藏區東部，西則至印度。根據其傳記記載，人們製作了數以千計之仁欽貝像，以便弟子遊歷修行時隨身攜帶。十三世紀初，遙遠至西面的阿爾奇寺亦見其像（Jackson著，《Painting Traditions of the Drigung Kagyu School》，紐約，2015年，頁11，圖1.25）。在諸多例證中，其畫像與造像一樣，上師之特徵清晰可辨：仁欽貝端直而坐、身形俊美、著合身喇嘛坎肩、額頭高企、髮際後移（同上，第86頁，圖5.9；第90頁，圖5.13A）。此尊鎏金造像為屈指可數的幾尊仍配有嵌半寶石之階梯式寶座以及華美背板的造像之一。另外兩尊相似造像一則收藏於吉美博物館（圖1，編號MA 6032），另一尊現存於布達拉宮（同上，頁89，圖5.12）。二例以及本拍品或皆出自丹薩替，而非毀於1297年之直貢梯寺。丹薩替寺最富盛名之吉祥多門塔興造，其中一項便為喇嘛肖像，而拍攝於1948年之照片則留下了幾尊安坐於相似寶座上之上師像（見Czaja 及 Proser，《Golden Visions of Densatil》， 2014，頁39，圖15）。隨著吉天頌恭於1217年圓寂，為其所修造之靈塔前架上亦曾安放上師像（同上，頁34，圖14）。作為帕木竹巴兩位座下大弟子之一，吉天頌恭於丹薩替之興建中舉足輕重。其曾擔任丹薩替第二任住持，而在十二世紀晚期到十三世紀大部分時間，丹薩替寺以及直貢梯寺始終被視為緊密相連的兩大法座（參閱Henss，《Cultural Monuments in Tibet》，卷一，頁621）。關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU.TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

STATUETTE DE HEVAJRA EN ALLIAGE DE CUIVRE DORÉTIBET CENTRAL, XVE/XVIE SIÈCLEHimalayan Art Resources item no. 1822 23.8 cm (9 3/8 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF HEVAJRA CENTRAL TIBET, 15TH/16TH CENTURY  PublishedMeinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 454, no. 200. Exhibited Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 —19 February 2017. ProvenancePrivate European CollectionThis bold casting of one of Tantric Buddhism's foremost meditational deities (yidams) depicts the 'Mother-Father' (yab-yum) union of Hevajra and Nairatmya, embracing in an interpenetrative cosmic dance. This sixteen-armed form known as Kapaladhara Hevajra, shows Hevajra holding an array of skull cups, with eight containing animals representing the Eight Diseases, and the other eight containing deities representing the corresponding cures. His consort, Nairatmya, is a tantric manifestation of Prajnaparamita, the mother of all Buddhas.  Among the animals representing diseases modeled in the skull cups is a bad-tempered cat (liver disease), asharabha(disease of the spleen), a man (smallpox), a camel (leprosy), a bull (brain hemorrhage), a horse (insanity), and an elephant (lung disease). As Hevajra and Nairatmya represent the chrysalis through which to transcend these diseases, the animals turn inwards towards the divine couple, while the deities turn outwards, bestowing health and good fortune on the viewer. The youthful cosmic couple is beautifully adorned with opulent gilding, detailed jewelry, and red pigment, reinforcing the perfection of their bodies and minds. Their physiognomy, consisting of widened eyes and furrowed brows, together with the slender modeling of limbs standing over ovoid bases are characteristic of gilt bronzes dated to the 15th and 16th centuries, a high point of Tibetan art history. Compare these features to another multi-armed tantric form of Chakrasamvara (Bonhams, Hong Kong, 1 December 2023, lot 1820) and to another of the same subject in Fondation Alain Bordier, at the Tibet Museum in Gruyères (ABS 179). 銅鎏金喜金剛像藏中 十五/十六世紀 著錄 Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha：2000 Years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年，頁454，編號 200 展覽「Buddha：2000 Years of Buddhist Art，232 Masterpieces」，弗爾克林根，2016年6月24日至2017年2月19日來源歐洲私人珍藏此尊風格鮮明之造像呈現密宗中最重要的觀想本尊之一，為喜金剛與無我佛母「陰陽雙運」交融於靈性之舞。此十六臂形態之形象被稱為持嘎巴拉喜金剛，呈現喜金剛手臂依次展開，各持骨碗，其中八隻盛裝八獸，象征八疾；另八隻碗中則有八尊神祇，象征對治相應疾苦。其明妃為無我佛母，乃眾佛之母般若波羅蜜多佛母之密宗化現。骨碗中代表疾病的動物則包括怒貓（肝病）、八足獸（脾病）、男人（天花）、駱駝（麻風）、公牛（腦溢血）、馬（癔癥）以及象（肺病）。喜金剛與無我佛母則象征消除疾病之轉化途徑，因此諸獸朝向雙身佛，而諸神朝外，將健康與好運賜予觀者。這尊年輕的雙身神祇像飾以華麗鎏金與精緻珠寶，髮上則施赤色顏料，更顯其身心已圓滿具足。其面容突出，蹙眉怒目、肢體纖長，立於橢圓底座之上，屬十五至十六世紀這段西藏藝術史鼎盛時期之銅鎏金造像特徵。可參考另一密宗形象之多臂勝樂金剛像（邦瀚斯，香港，2023年12月1日，拍品1820）以及瑞士格呂耶爾Alain Bordier 基金會之西藏博物館所藏同題材造像（館藏編號 ABS 179）。This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

STÈLE EN PIERRE NOIRE REPRÉSENTANT CHAKRASAMVARAINDE DU NORD-EST, ÉPOQUE PALA, VERS XIIE SIÈCLEHimalayan Art Resources item no. 1818 8 cm (3 1/8 in.) high  Footnotes:A BLACKSTONE STELE OF CHAKRASAMVARANORTHEASTERN INDIA, PALA PERIOD, CIRCA 12TH CENTURY  Published A & J Speelman, Oriental Sculpture and Works of Art, London, 1999, pp. 60-1, no. 28.  Provenance Private American Collection, since 1980s This miniature stone carving depicts Chakrasamvara in union with his consort Vajrayogini. Chakrasamvara, whose name means the 'Wheel of Bliss' in Sanskrit, is the meditational deity (yidam) at the heart of the Chakrasamvara Tantra–one of the most important wisdom traditions known as a 'Mother root' tantra. The goddess, Vajrayogini, embraces her consort, wrapping her leg around his waist and arm around his four faces, clutching her implements of skullcup and hooked knife. He engulfs her in an aureole of arms, his primary arms crossed around her body and holding a ghanta and vajra. The sexual embrace of these two deities (or yab yum) represents the attainment of the Highest Yoga Tantra tradition (Anuttarayoga Tantra) and Tibetan Buddhism's supreme ideal: the skilled union of perfect wisdom (Vajrayogini) and compassion (Samvara).  Such portable carvings, depicting the central figure standing on a lotus base encompassed in an arched nimbus with figures carved in the round, survive from the workshops of Pala India. Another example of the same subject is held in the Metropolitan Museum of Art (fig. 1 ; 1988.392). Numerous survive in Tibetan monastery collections, as illustrated in von Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2001, p. 385, pl. 123C-D. Their presence in Tibet, made possible through thoughtful preservation, underscores not only a reverence for these objects, but also the impact of their regional dissemination. Carvings such as the present example would have served as models for depicting tantric deities in China and Tibet. For the figures listed in this essay, please refer to our printed or digital catalogue.黑石勝樂金剛像印度東北部 帕拉時期 約十二世紀 著錄 A & J Speelman，《Oriental Sculpture and Works of Art》，倫敦， 1999年， 頁60-1， 編號28 來源美國私人珍藏，二十世紀八十年代以來這尊精巧的小型石雕描繪勝樂金剛與其明妃金剛瑜伽母相擁起舞之雙身像。勝樂金剛梵文名意為「勝樂之輪」，為《勝樂金剛密續》之核心觀想本尊，該密續被視為最重要的智慧傳承「根本母續」之一。女神金剛瑜伽母擁抱父神，以腿纏繞其腰，雙臂環繞其四面，手握法器嘎巴拉碗與鉞刀。勝樂金剛則將其環繞於臂輪之中，主臂交抱其身，交持金剛鈴杵。兩尊神祇（或稱本尊）陰陽雙運，象徵成就無上瑜伽密續傳統及藏傳佛教至高理想：智慧（金剛瑜伽母）與慈悲（勝樂金剛）之巧妙結合。 此類便於攜帶的小型雕塑，圓雕中心人物立於蓮花座上，環繞以拱形背光，乃屬印度帕拉工坊之存世作品。紐約大都會藝術博物館亦藏有另一尊同主題造像（圖1，編號1988.392）。另有多尊此類造像現存於西藏各寺廟之收藏中，參見von Schroeder，《Buddhist Sculptures in Tibet》，香港，2001年，頁385，圖版123C-D。經過精心保存，這類雕塑作品得以傳世於西藏，顯示出人們對其之尊崇敬拜，以及其在區域間的流傳。如此黑石勝樂金剛之作，亦為隨後漢藏兩地表現此類密宗神祇提供藝術範本。關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。Lot to be sold without reserve.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

BOL À AUMÔNES EN ÉMAUX CLOISONNÉS ET ALLIAGE DE CUIVRE DORÉDYNASTIE MING, MARQUE À SIX CARACTÈRES ET ÉPOQUE JINGTAI7.1 cm (2 3/4 in.) high; 14.1 cm (5 1/2 in.) diam. Footnotes:A CLOISONNÉ ENAMEL AND GILT COPPER ALLOY ALMS BOWLMING DYNASTY, JINGTAI SIX-CHARACTER MARK AND OF THE PERIODThe shape of this simple yet elegant bowl with its gently tapered body, generous rounded shoulders, flat bottom and narrowed opening is representative of the objects used in Buddhist religious ceremonies as well as in daily life by monastics. Its shape, composition and size are described in the monastic rules where it is stipulated that an alms bowl should be crude in form to not create greed, dark grey in color to not incite desire, and of a fixed size to encourage contentment. An alms bowl was considered a requisite and was one of only six objects including three garments, a stool, and a water strainer, that a Buddhist monk was allowed to own. The basic shape of this bowl originally stems from metalwork first introduced from Persia or Central Asia to China. The present alms bowl is heavily cast and exquisitely decorated in vibrant enamels around the exterior with a band of large lotus blooms with radiating multi-coloured, spiky petals, borne on meandering leafy stems with smaller lotus buds, all on a bright turquoise ground, the interior and base richly gilt. Both the material and decoration defy monastic rules of simplicity and functionality. The bowl is made in the highly complex cloisonné technique which involved creating designs on metal surfaces using coloured glass paste which was then placed within spaces created by thin copper or bronze wires bent into the desired motifs and then soldered onto the metal body. The cloisons thus created served to enrich the surface, outline parts of the design and keep the enamel colours from running into each other. As on this alms bowl, the enamels were polished after they had been fired, and the surface of the wires gilt to give the piece added brilliance. Vessels decorated in the cloisonné technique reached China during the Yuan dynasty (1206-1368) yet the earliest dated examples of Chinese cloisonné enamels date to the Xuande reign (1425-35) of the Ming dynasty when this art form flourished under imperial patronage as a massive, covered jar and a small covered box with finely incised Xuande marks from the Uldry Collection demonstrate, compare Helmut Brinker and Albert Lutz, Chinesisches Cloisonné. Die Sammlung Pierre Uldry, Zürich, 1985, col. pls. 4 and 5. Stylistically and technically, these Xuande-marked cloisonné enamel vessels with their heavily cast metal bodies, vibrant enamel palette including yellow, green, blue, red and white, their hammered bronze cloisons and rich gilding as well as their use of lotus scrolls with leaves of varied form, spiral tendrils, spiky leaves and buds, are very close to Jingtai-marked cloisonné enamel pieces. It has been argued that Jingtai-marked wares, which are often of superb quality, are in fact of the earlier Xuande period but with later added Jingtai marks, see Claudia Brown, Chinese Cloisonné. The Clague Collection, Phoenix, Arizona, 1980, pp. 7-8. The present alms bowl with its exquisitely rendered decoration of scrolling lotus scrolls executed in vibrant and colourful enamels testifies to the type of luxury good that was made in the imperial workshops of the early Ming court under the Yongle (1403-25), Xuande (1426-35) and Jingtai (1450-57) emperors. Its rather diminutive size and precious material value suggest that it was meant to be handled and appreciated. The finely incised Jingtai six-character mark on the base of this alms bowl can be compared to that incised on a circular cloisonné enamel covered box in the National Palace Museum, Taipei, illustrated in Enamel Ware in the Ming and Ch'ing Dynasty, Taipei, 1999, cat. no. 1. It is also similar to the Jingtai mark on a dish from the Speelman Collection, sold Sotheby's Hong Kong, 3 April 2018, lot 3406. Fifteenth century marked coisonné enamel alms bowls are very rare. A closely related but larger alms bowl was sold in Christie's Hong Kong, 29 May 2007, lot 1435.銅鎏金掐絲琺瑯缽明 景泰 「大明景泰年製」款此缽造型簡潔而優雅，肩部圓潤豐滿，腹輕微收細，底部平坦，開口收窄，是佛教宗教儀式及僧侶日常生活中使用器物的代表。這種缽的基本形狀最初源於從波斯或中亞傳入中國的金屬工藝。缽被視為宗教生活之必需品，是佛教僧侶被允許擁有的六樣物品之一，其餘則包括三件衣物、一張凳子和一個過濾水的器具。雖然這樣的缽的形狀、結構和尺寸在僧侶規則中有所描述，其中規定缽應外形粗糙以免僧侶生貪念，顏色深灰以免引起欲望，大小固定以鼓勵知足，但此缽鑄造厚實且外部飾有鮮艷的琺琅彩，包括一圈碩大的飽滿尖瓣蓮花，生於捲葉蓮莖上，小巧的花蕾點綴其間，色彩絢麗，映襯著明亮的綠松石色背景與缽內和底部的厚重鎏金。顯然，無論其材料或是其裝飾皆違反僧侶中對簡樸和功能性的規定。掐絲工藝創造出獨立的空間，勾勒成精心設計的細節以令琺琅彩不相互流淌混合。如此缽上的琺琅彩，在經過燒制後被打磨拋光，並在金屬絲表面鎏金，使得整件作品更加璀璨。掐絲琺瑯裝飾的器皿在元朝（1206-1368）期間傳入中國，然而最早可追溯的刻有年款之中國掐絲琺瑯器為明朝宣德年間（1425-1435），這一藝術形式在宮廷的贊助下繁榮發展，如Uldry收藏所示的一件大型蓋罐和一件小蓋盒，上刻精細的宣德年款，見Helmut Brinker 及 Albert Lutz，《Chinesisches Cloisonné. Die Sammlung Pierre Uldry》，蘇黎世，1985年，彩色圖版4及5。自風格與工藝而言，宣德年間的銅胎掐絲琺瑯器與景泰年間的產物十分近似。此缽上鮮艷多彩的琺瑯飾捲葉蓮花的絢麗工藝，正證明著明朝早期永樂（1403-25）、宣德（1426-35）以及景泰（1450-57）三朝宮廷皇家工坊製作的奢侈品樣式與品質。相對較小的尺寸以及珍貴的材料表明其原為置於手上品玩欣賞而作。缽底細刻景泰六字款，可以與台北故宮所藏的一個圓形掐絲琺琅蓋盒上的款識相較，該蓋盒於《明清琺瑯器展覽圖錄》（台北，1999年）中作為圖錄1號作品而展示。此外，其亦可另一件Speelman舊藏之掐絲琺瑯盤之景泰款相似，見蘇富比，香港，2018年4月3日，拍品3406。十五世紀且帶年款的掐絲琺琅缽非常罕見。一個與之相似但尺寸更大之例可參考佳士得，香港，2007年5月29日，拍品1435。Lot to be sold without reserve.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

STATUETTE DE VAIROCANA EN ALLIAGE DE CUIVRE DORÉTIBET, XVIIE SIÈCLEA Sanskrit inscription in Tibetan lhantsa script at the back of the base, translated:'Homage to Tathagatha Vairocana'.Himalayan Art Resources item no. 1814 14.3 cm (5 5/8 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF VAIROCANATIBET, 17TH CENTURY ProvenanceSotheby's, New York, before 1976 In this 17th-century Vairocana sculpture, the artist drew upon northeastern Indian Pala models from the 10th and 11th century, many of which were brought to Tibet in antiquity, such as a closely related example published in von Schroeder, Buddhist Sculpture in Tibet, Vol. I, 2001, p. 266, no. 85A. The lotus petals and stepped breakfront plinth populated with snow lions, elephants, and a central crouching gana figure emulate these earlier sculptures. The bronze caster has even gone so far as to mimic the worn hemlines frequently seen across the torsos of these medieval bronzes handled over the centuries. A small separately cast dharma-wheel is applied to the front of the base serving to identify the figure as Vairocana, who presides over the chakra family of buddhas and bodhisattvas. The lithe body and oval face with high forehead are common traits among these archaistic works, while the remains of stained cold gold and blue pigment in the hair attest to the sculpture's prolonged worship in Tibet. A Shakyamuni Buddha, attributed 14th/15th century, in the Museum Rietberg, Zurich, shows a similar simplified treatment of the monastic robe, but a less ambitious rendering of the animals in the lower platform (Uhlig, On the Path to Enlightenment, 1995, p. 54, no. 15). Also in the Rietberg, a portrait of Palden Lodro, Abbot of Margom monastery, dated 1597, with lhantsa inscription and similar acute lotus petals supports a roughly contemporaneous attribution for the present sculpture.銅鎏金大日如來像西藏，十七世紀來源蘇富比，紐約，1976年前在此尊十七世紀的大日如來造像中，藝術家借鑑了來自十世紀及十一世紀東北印度之帕拉時期的範例，其諸多造像於古代被帶至西藏，其中一十分近似之例著錄於von Schroeder，《Buddhist Sculpture in Tibet》，卷一，頁266，編號85A。其蓮花瓣造型，以及飾有雪獅、大象以及一蹲坐其中之伽那像，皆模仿了這些早期作品。此拍品之鑄造者甚至模仿中世紀銅像因數世紀摩挲而常見之磨損，如軀幹上的衣領。一分開鑄造的法輪被安於台座前側，用以標示此像為大日如來，統領眾佛及菩薩，位於曼荼羅之中央。纖細的身體、橢圓形的臉龐以及高前額，皆為彼時仿古作品之特徵。而存留的冷金和頭髮中殘留的藍色顏料證明這尊雕像曾長期在西藏受到敬拜。蘇黎世瑞特堡博物館收藏的一尊釋迦牟尼像，被定為十四或十五世紀之作，展示出對僧袍相似的簡化處理，而台座上之動物之塑造則未如此精細（見Uhlig，《On the Path to Enlightenment》，1995年，頁54，編號15）。瑞特堡博物館另有一幅1597年之巴登羅卓畫像，其為瑪貢寺住持，畫像帶有西藏題記(以lhantsa寫)，以及相似的尖形蓮花瓣，為此尊銅造像之年代應大致與其同時期提供了支持。Lot to be sold without reserve.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

STATUETTE DE TARA VERTE EN ALLIAGE DE CUIVRE DORÉ DYNASTIE MING, MARQUE À SIX CARACTÈRES ET ÉPOQUE YONGLE Himalayan Art Resources item no. 1830 15 cm (5 7/8 in.) high  For further information on this lot please visit Bonhams.com

STATUETTE D'ACHALA EN LAITONTIBET, XIIIE SIÈCLEHimalayan Art Resources item no. 1810 27.3 cm (10 3/4 in.) highFootnotes:A BRASS FIGURE OF ACHALA TIBET, 13TH CENTURY  Published  Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 379, no. 162.  Exhibited  Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 —19 February 2017. Achala, 'the Immovable One', is a meditational deity (yidam) tasked with holding the sacred ground of a mandala and deterring negative phenomena as the 'Remover of Obstacles'. In Hinduism, this role is reserved for the elephant-headed god Ganesha, who is presently being depicted as the 'Creator of Obstacles' instead, subdued under Achala's feet. This form of Achala was popularized by Atisha (982-1054), the founder of the Kadampa school, and Sonam Tsemo (1142-82) of the Sakya order, as a central purification practice. In his right hand, Achala brandishes a sword above his head, poised to slash through the veil of ignorance shrouding the practitioner's mind. In his left, he points his index finger in the gesture of 'warning' (tarjani mudra) while holding a vajra lasso in order to ensnare corrupting forces. For further discussion of Achala within the Buddhist pantheon, see Linrothe, Ruthless Compassion, 1999, pp. 151-3.   Retaining a warm patina from centuries of devotion and handling, the crisp details of this sculpture adapt earlier Indian styles that influenced the nascent artistic traditions of Tibetan Buddhism. During the 10th-12th centuries, in a period known as the Chidar, generations of Tibetan monks gathered and translated Indian devotional texts and icons. They considered paintings and sculpture from Buddhism's homeland prized religious objects, purer and more potent. Numerous examples are preserved in temple collections in Lhasa, including two Achala figures of similar modeling, who analogously trample animated and full-bodied renderings of Ganesha underfoot (von Schroeder, Buddhist Sculptures in Tibet, Vol. II, 2001, p. 1113, nos. 291B & D-E). Another example worthy of comparison is published in Essen & Thingo, Die Gotter des Himalaya, 1989, p. 160, fig. I-98. Lastly is a brass figure of Jambhala from the Nyingjei Lam Collection, sold at Bonhams, Hong Kong, 7 October 2019, lot 806 (Fig. 1), whose patina and piercing gaze share a close resemblance with the present work.For the figures listed in this essay, please refer to our printed or digital catalogue.不動明王銅像西藏 十三世紀 著錄 Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha：2000 Years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年，頁379，編號162 展覽 「Buddha：2000 Years of Buddhist Art，232 Masterpieces」，弗爾克林根，2016年6月24日至2017年2月19日 不動明王為一尊重要觀想本尊，使命為鎮守曼陀羅聖地，抵抗消極力量，為業障消除者。在印度教，此角色是由象神迦納什擔任。然而，在此佛教造像之中，象神被視為業障之創造者而被踏於不動明王腳下。此不動明王的特殊形象因噶當巴派創始人阿底峽（982-1054）和薩迦派的洛本索南孜摩（1142-82）之推崇而流行，其對事部修行至關重要。明王右手舉劍過頭，準備劃破籠罩修行者心靈的無知與幻覺的面紗。左手則豎起食指降魔，結期克印，同時手握金剛索，以誘捉邪惡力量。有關不動明王及其在佛教萬神殿中之角色，更多討論可參見 Lindrothe，《Ruthless Compassion》，1999年，頁151-3。數百年的虔誠供奉與傳承，給予了這尊雕像溫潤明亮的包漿。整體清晰的細節，向早期印度風格致敬，正是這些風格影響了萌芽時期的西藏藝術傳統。在十至十二世紀的這段又被稱為後弘期的年代裡，一代又一代的西藏僧侶收集並翻譯著印度宗教文字與典籍。他們視來自佛教發源地的印度繪畫以及雕塑為珍品、一種更純淨、更有效的宗教形式。拉薩寺廟收藏中保存諸多例證，例如另外兩尊造型相似的造像，同樣有力地踩踏栩栩如生的象神全身像（見von Schroeder，《Buddhist Sculptures in Tibet》，卷二，2001年，頁1113， 編號291B、D-E）。 另一值得比較的例子刊於Essen 及 Thingo 著之《Die Gotter des Himalaya》，1989年，頁160，圖I-98。菩薩道所藏一尊黃財神銅像之銅質以及銳利的眼神亦與本不動明王像極為相似，見邦瀚斯，香港，2019年10月7日，拍品806（圖1）。關於文中所提及之參考圖，請參閱此場拍賣之電子或紙質圖錄。This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

STATUETTE DU QUATRIÈME SAKYA TRIDZIN, SONAM TSEMO, EN ALLIAGE DE CUIVRE DORÉTIBET, XVIE SIÈCLE Himalayan Art Resources item no. 1825 13 cm (5 1/8 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF THE FOURTH SAKYA TRIDZIN, SONAM TSEMO  TIBET, 16TH CENTURY  Provenance Sotheby's, New York, before 1976 Sonam Tsemo (1142-82) held office as Sakya monastery's 'throne-holder' (Sakya Tridzin) for only three short years before passing it to his younger brother so that he could devote his life to unencumbered study. He never married or fathered children, preferring the life of a retreatant, yet Sonam Tsemo remained a lay practitioner, indicated by his long-sleeved cloak. Revered for his scholasticism as the Sakya's Second Founding Patriarch (Jetsun Gongma Nga), his foundational texts include a commentary on the Bodhicharyavatara by Shantideva, explanations on the final two chapters of the Hevajra root tantra, instructions for reading Sanskrit, and Door to the Dharma, a text giving an overview of all of the Buddha's teachings.  Portraits of Sonam Tsemo, like the present lot, often show him wearing finely ornamented robes, with curled locks and a gentle countenance. Two further bronzes, and a painting of the master with his younger brother, Dragpa Gyaltsen, depict him similarly (HAR 7835; Bonhams, New York, 21 March 2023, lot 521; and Museum of Fine Arts Boston, 67.831, respectively). In all three sculptural examples, his cloak features a cloud-collar, a Chinese motif with connotations of heavenly authority. The cloud-collar was adopted by the Sakya, who enjoyed administrative rule of Tibet under Mongol hegemony during the Yuan dynasty (1279-1368). The imperial support of Sonam Tsemo's noble line shows further articulation in the engraved saptaratna ('seven jewels'), the insignia of a chakravartin, or divine ruler. The intricately chased robe and the inscribed visvavajra on the sculpture's consecration plate underneath pay homage to the dynamic Yuan-Sakya alliance, which at its peak fostered an environment of cultural and artistic syncretism that would precipitate the creation of such jewel-like expressions of this figure's esteem.銅鎏金四世薩迦法王索南孜摩像西藏 十六世紀 來源 蘇富比，紐約，1976年前索南孜摩（1142-82）僅僅擔任薩迦寺之座主（薩迦法王）三年 ，便傳位予弟弟，此後得以無所掛慮、潛心修習。 其一生從未結婚、生子，傾心於避世的生活，但從其衣袍之長袖可以看出，索南孜摩始終為一名在家修行者，而非出家僧人。其以學術成就聞名於世，為薩迦五祖之第二祖師，其核心著作包括對寂天菩薩《入菩薩行論》之詮釋、對喜金剛根本續最後兩章之闡述、梵文閱讀指引，以及概述佛陀所有教義的《佛法入門》。 如本拍品一樣，索南孜摩肖像大多顯示其身穿精美長袍，頭髮鬈曲，面容溫和。另見兩尊銅像（分別見喜馬拉雅藝術資源網7835號以及邦瀚斯，紐約，2023年3月21日，拍品521）以及一幅其與弟弟扎巴堅贊之畫像（波士頓美術館，67.831），刻畫皆近似。本拍品與前述兩尊造像中，祖師皆穿着雲肩，此符號成為於中國文化中天人權威之象徵。在蒙古人所治之元朝時期（1279-1368），薩迦派享有對西藏的行政統治權，並將雲肩納入其著裝範疇。當時蒙古宮廷對索南孜摩所代表的薩迦傳承之支持，更體現在長袍的精心設計的雕刻圖案上，例如所刻「七寶」象徵神聖統治者「轉輪聖王」。雕刻精美的長袍，以及封底所刻十字金剛杵，皆向元代宮廷與薩迦派之結盟致敬，這段聯盟的鼎盛時期孕育了文化與藝術的交融，催生出如此造像般熠熠閃光的、對偉大人物的尊崇的表現方式。Lot to be sold without reserve.This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

STATUETTE D'AKSHOBHYA EN LAITON AVEC INCRUSTATION DE CUIVRETIBET CENTRAL, VERS XIIIE SIÈCLE Himalayan Art Resources item no. 1809 40 cm (15 3/4 in.) high  Footnotes:A COPPER INLAID BRASS FIGURE OF AKSHOBHYA  CENTRAL TIBET, CIRCA 13TH CENTURY  Published  Marcel Nies, Window of the Sacred World: Art of India, the Himalayan regions and Southeast Asia, Antwerp, 2002, no. 24.  Jan van Alphen, Cast for Eternity: Bronze Masterworks from India and the Himalayas in Belgian and Dutch Collections, Antwerp, 2005, p. 163, no. 49.  Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 409, no. 177.  Exhibited  Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 —19 February 2017.  Provenance  Marcel Nies Oriental Art, Belgium  Cast with a sweet and serene expression, this handsome figure represents the crowned emanation of Akshobya, the Immovable One, as one of the Five Tathagatas. Known as the Cosmic Buddhas, these deities belong to a preeminent subset of the yoga tantras. To the Sarma, or new schools of Tibetan Buddhism, they represent the belief that the world is composed of five elements, with each Buddha embodying an aspect of wisdom with a corresponding color, Buddha family, cardinal direction, and hand gesture. Blue in complexion and motioning his right hand forward in the earth-witnessing gesture (bhumisparsha mudra), Akshobya presides over the Vajra family of Buddhas within the eastern quadrant of a mandala. His invocation serves as an antidote to anger and hatred, with his mirror-like wisdom reflecting a world free of illusory distortions warped by the human ego. Since his true existence is empty and therefore ineffable to the unenlightened mind, Akshobya is depicted here in a blissful, 'reward body' (sambhogakaya) at the threshold of dissolving into his dharmakaya form. The artist has imbued his creation with an arresting calm, drawing the viewer closer to inspect the copper inlays applied to the fingernails of the right hand, the band of the crown, and the figure's ample lips. This bronze ranks among finer examples of early non-gilt sculpture in Tibet from the 13th and 14th centuries. Stylistically, it pays homage to the two Indian aesthetic traditions of the preceding centuries that had greatest influence on Tibetan Buddhist art in the formative period. The first being that of Kashmir, wherefrom works were transmitted to West Tibet, echoed in the sculpture's wide lotus petals and the technique of using casting struts to bridge the figure's crown and scarf. The second being that of Pala northeastern India, wherefrom sculptures were brought to Central Tibet. Pala borrowings include the figure's lozenge-shaped jewellery, tall chignon, and gentle dip to the eyelids. Differences in figural modelling, however, indicate the bronze's creation in Tibet, paralleling the casting quality and facial type of a seated Buddha published in von Schroeder, Buddhist Sculptures in Tibet, Vol. II, 2001, p. 1173, no. 313D, and a figure of Ratnasambhava in the Tibet Museum, Gruyères (ABS 032; HAR 200457).錯紅銅阿閦佛銅像藏中 約十三世紀 著錄 Marcel Nies，《Window of the Sacred World: Art of India, the Himalayan regions and Southeast Asia》，安特衛普，2002年，編號24Jan van Alphen，《Cast for Eternity: Bronze Masterworks from India and the Himalayas in Belgian and Dutch Collections》，安特衛普，2005年，頁163，編號49Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha：2000 Years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年，頁409，編號177展覽 「Buddha：2000 Years of Buddhist Art，232 Masterpieces」，弗爾克林根，2016年6月24日至2017年2月19日 來源 Marcel Nies Oriental Art，比利時 此尊造像英俊非凡，神情恬靜安詳，為阿閦佛之寶冠形象，即不動尊，為五方如來之一。五方如來又稱五方佛，屬瑜伽密續最重要一組神明。對藏傳佛教新派來而言，五佛即代表世界由五大元素構成這一信仰，由每位佛陀象徵五種智慧之一，並各有不同顏色、佛部、方位以及手印。阿閦佛膚藍，右手向前伸出結觸地印，掌管曼荼羅東方之金剛界。祈求大日如來以抵抗怒與憎，其大圓鏡智不妄不愚，展現出一個沒有人性曲解幻想之世界。由於其真實存在為空，無法言說於未開悟的心智，故此處阿閦佛呈現圓滿色身的「報身」，處於解脫為「法身」之邊緣。藝術家賦予造象引人入勝的平靜，引導觀者細細查看其微妙細節，如其右手指甲、冠冕帶及豐滿唇上所錯紅銅。 此尊銅像堪稱為十三及十四世紀西藏早期非鎏金銅像中的傑作。其風格上向對後來西藏佛教藝術形成影響巨大的兩個早期印度藝術傳統致敬。首先，其呼應了傳入西藏西部的克什米爾藝術風格，如其寬大的蓮花瓣、寶冠葉片之間的連接以及披巾下的支撐技法。其次，此造像亦參照印度東北部之帕拉美學，其傳入地則為西藏中部地區。借鑒之元素包括菱形珠寶裝飾、高髮髻，以及柔和下垂的眼瞼。而佛像本身身形之差異，則表明此阿閦佛造於西藏，其品質與面部風格與一尊坐佛像（見von Schroeder，《Buddhist Sculptures in Tibet》，卷二，2001年，頁1173，編號313D），以及格呂耶爾西藏博物館所藏一尊寶生佛（ABS 032，喜馬拉雅藝術資源網200457號）如出一轍。This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com