A ROCK CRYSTAL FIGURE OF VAJRASATTVA


QING DYNASTY, 17TH/18TH CENTURY Himalayan Art Resources item no.61793 15.3 cm (6 in.) high
|The artist has drawn on rock crystal's clarity and translucence to better evoke the ultimate voidness (shunyata) of true reality and wisdom that Vajrasattva conceptually represents. Similarly, both figure and medium are associated with purity. Vajrassattva practice is usually performed in a purifying ceremony before tantric rituals. He is identified by his unique iconography, holding the vajra before his heart and the ghanta by his hip. His perfection is further symbolised by meticulously carved jewelry and patterned textiles.   Stylistically, the present work can be compared with a gilt bronze figure of Shadakshari made during the Kangxi Emporer's reign (1661-1722) (see Zangchuan Fojiao Zaoxiang, Hong Kong, 2008, p.237, no.226). The tear-drop crown finials and scroll patterned scarf are very similar across the two sculptures. The lotus petals, although not identical in the decorative flame tips, are modeled after the same type. The flying ends of his scarf, twisting in a stylized manner, are very similar to that of a bronze Amitayus in the Qing Palace Collection (ibid., p.248, no.237). 水晶金剛薩埵像 清朝，十七/十八世紀喜馬拉雅藝術資源網61793號 高15.3釐米（6英吋） 500,000-800,000港元 此尊巧借水晶之清澈及半透明特質，表達金剛薩埵所代表的"空性"及大智慧。與此同時，金剛薩埵與水晶媒介亦均有純淨之意。一般於密宗法式前，常以金剛薩埵作淨化儀式。金剛薩埵一手持金剛杵於胸前，另一手握金剛鈴於腰際，精雕細琢的玲瓏珠寶及刺繡錦緞更凸顯其圓滿。 此尊之風格可與康熙年間（1661-1722年）所製的一尊銅鎏金四臂觀音菩薩相比（參見《藏傳佛教造像》，香港，2008年，頁237，226號）。淚珠形冠葉及卷草紋飄帶幾無二置。蓮葉雖火焰狀尖端有所出入，但大體同出一轍。飄帶的兩端向上飛卷，其制式化的風格與一尊清宮舊藏的無量壽佛像極為相似（同上，248頁，237號）。