拍品描述:西藏 十三 / 十四世纪 铜玛尔巴像 Himalayan Art Resources item no. 68487. HAR编号68487 For further information on the condition of this lot please contact Alexandra.Farahnik@sothebys.com David Weldon and Jane Casey Singer, The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam Collection, London, 1999, pl. 38. Ashmolean Museum, Oxford, 1996–2005 (on loan). The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam Collection, Ashmolean Museum, Oxford, 1999. Arte Buddhista Tibetana: Dei e Demoni dell' Himalaya, Palazzo Bricherasio, Turin, 2004, cat. no. IV. 39. Rubin Museum of Art, New York, 2005–2018 (on loan). Casting the Divine: Sculptures of the Nyingjei Lam Collection, Rubin Museum of Art, New York, 2012–13. Eternal Transience, Enlightened Wisdom – Masterpieces of Buddhist Art, University Museum and Art Gallery, University of Hong Kong, 2022, pp 88-89. The Tibetan guru Marpa (1012-1097) is one of the seminal protagonists in the history of Tibetan Buddhism during the period described by Tibetans as the Chidar, or Later Diffusion of the Faith between the tenth and twelfth centuries. Marpa mastered Sanskrit, sought Buddhist teaching in India, and became known as a great Lotsawa, the title bestowed on Tibetan translators of the ancient Indian texts. He remained a layman although he was highly regarded as a teacher, and his disciples went on to found the Kagyu order of Tibetan Buddhism. He was a contemporary of the Indian teacher Atisha (982-1054), another seminal character in the early history of Tibetan Buddhism. Marpa was known as a strict disciplinarian, suggested here in the stern expression fixed on the guru’s face. The master’s lay status is reflected in the absence of monastic apparel and his relaxed seated posture, with a booted foot protruding from beneath a long-sleeved garment secured at the waist by a thick sash, and a heavy cloak draped over the shoulders and enveloping his legs. His mastery of Buddhism however is revealed by the important ritual implements he holds, a vajra in the outstretched right hand and the ghanta in the left. Marpa is identified by his distinctive coiffure rising up sharply from the forehead with a whorl of hair at the crown, cf. the hair of a bronze portrait of Marpa identified by inscription in the Metropolitan Museum of Art (acc. no. 1995.176). Portraits of the master often show him with both hands extended forward in the earth-touching mudra, or in the teaching gesture, while the rarer iconography of the Nyingjei Lam example with vajra and ghanta is recorded in the Asta-sahasrika Pantheon, see Lokesh Chandra, Buddhist Iconography, New Delhi, 1991, fig. 1330. The style of Marpa’s robes, the folds of cloth, the minimal decoration on the hems, invite comparison with pre-fifteenth century Tibetan bronze portraits of monks and teachers which include a thirteenth century figure of Marpa in the Jokhang, see Ulrich von Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2001, vol. II, pls 320A-E . The Nyingjei Lam Marpa is likely to date to at least the fourteenth century, predating the popular styles in the fifteenth and later centuries such as a series of Sakya masters at Ngor monastery, ibid., pls 333A-E. This rare portrait of one of Tibet’s most revered teachers is thus among the earliest known examples together with the Jokhang Marpa, and certainly one of the finest and most expressive. 西藏上师玛尔巴（1012-1097年）乃十至十二世纪间藏传佛教之重要推手，精通梵文，赴印度学习佛法，与印度高僧阿底峡（982-1054年）为同期，依玛尔巴之教导，弟子门徒创立噶举派。据传，玛尔巴严守戒律，遂见此像庄严表情，着靴、长袖宽带、肩披厚袍，直至腿踝，观其衣着可知玛尔巴之瑜珈士身分，非出家众。右手持金刚杵，左手金刚铃，如此重要法器，可见其佛教成就。玛尔巴上师像特征为额际上梳，头顶发旋，参考纽约大都会艺术博物馆藏玛尔巴造像（馆藏编号：1995.176），其上铭文确认此像身分。 本品衣袍风格，衣褶描写、边沿装饰素雅，可对比十五世纪以前之祖师造像，如大昭寺藏一尊十三世纪玛尔巴像，录于 Ulrich von Schroeder，《Buddhist Sculptures in Tibet》，香港，2001年，卷2，图版 320A-E。菩萨道珍藏此像，应最晚造于十四世纪，尚无十五世纪之后盛行之上师像风格，如俄尔寺萨迦祖师像，同上，图版 333A-E。与大昭寺玛尔巴像相类，本像属藏传佛教艺术中最早之上师像，亦是最细腻生动者。 展开