明十五世紀初 鎏金銅綠度母坐像 《大清乾隆年敬造》後刻款

seated in lalitasana on a double-lotus base, the right hand held in varadamudra and the left raised to the chest in vitarkamudra, both supporting uptala lotuses rising to the shoulders along the elbows, wearing a dhoti and a loose shawl over the shoulder, adorned with bejewelled necklaces around the waist and the chest, the face with a benevolent expression, crowned with a five-leaf tiara in front of a high chignon, the front edge of the lotus base incised with a seven-character reign mark reading Da Qing Qianlong nian jingzao (Respectfully made in the Qianlong period in the Great Qing dynasty), the underside incised with a double vajra

紐約蘇富比1986年4月7日，編號89
Eskenazi Ltd.，倫敦

In very good general condition. It is likely that the figure was orignially inscribed with a Ming dynasty, Yongle period (or Xuande period) mark which was removed before being re-gilt and later inscribed with the Qianlong mark, and faint strokes and scratching visible to this area. Wear to the gilding, most significantly to the right leg, as visible in the catalogue image. Small dents and nicks to the edges of the lotus base and minor surface wear elsewhere. The gilding of a richer and more muted tone than as shown in the catalogue images.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

綠度母是佛教之救世菩薩，協助佛徒超脫生死輪迴。根據西藏神話所述，觀音菩薩因憐憫眾生苦難而流下的淚水積累成湖，湖中蓮花現出「蘊含百萬朵蓮花典雅」之綠度母菩薩相。（達賴喇嘛一世對綠度母菩薩的論述錄於Glenn H. Mullin，《Mystical Verses of a Dalai Lama》，新德里，2003年，頁57。）

永樂宮廷崇拜綠度母的熱誠并不亞於西藏善信。包括本品在內，永樂年製鎏金銅綠度母造像至少有九尊存世：Usher P. Coolidge故藏一品，錄於Heather Karmey，《Early Sino-Tibetan Art》，沃明斯特，1975年，圖版56；芝加哥藝術學院藏一品，錄於Ulrich von Shroder，《Buddhist Sculptures in Tibet》，卷2，香港，2001年，圖版144D；鴻禧美術館藏一品，錄於《金銅佛造像圖錄》，臺北，1993年，圖版48；Aschmann收藏二品錄於蘇黎世瑞特堡博物館《On the Path to Enlightenment: The Berti Aschmann Foundation of Tibetan Art》展覽圖錄，蘇黎世，1995年，編號92－93；西藏寺廟藏二品，錄於Ulrich von Shroder上引著作，圖版536C-6F；Jules Speelman藏一品，2006年10月7日於香港蘇富比出售，編號806。此九尊綠度母造像均符合永樂工作坊標凖，塑造和鎏金工藝盡皆完美，一概配以永樂年製大型鎏金銅佛像典型的珠飾和蓮花瓣座。同時，九尊作例風格各具鮮明特色，充分展示永樂造像的原創性及多樣性。譬如本品和體型較大的Aschmann藏品風格比較嚴峻和富貴族氣派，而Coolidge作例則較圓潤親切。

永樂宮廷工匠施鬼斧神功，本品塑造綠度母化身為氣質細膩的女菩薩。其身軀和雙目尚留些許色料，雙手作恒修慈愛與悲憫手勢，使人深切感受到菩薩普度眾生之大慈悲。