十三至十四世紀 西藏銅錯銀及紅銅布祿金剛贍巴拉立像

喜瑪拉雅藝術資源網編號68423

阿什莫林博物館，牛津，1996-2005年借展
《The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam Collection》，阿什莫林博物館，牛津，1999年10-12月
《Arte Buddhista Tibetana: Dei e Demoni dell’ Himalaya》，Palazzo Bricherasio，都靈，2004年6-9月
魯賓藝術博物館，紐約，2005-2017年借展
《Casting the Divine: Sculptures of the Nyingjei Lam Collection》，魯賓藝術博物館，紐約，2012-2013年

David Weldon 及 Jane Casey Singer，《The Sculptural Heritage of Tibet: Buddhist Art in the Nyingje Lam Collection》，倫敦，1999年，圖21
Franco Ricca，《Arte Buddhista Tibetana: Dei e Demoni dell’ Himalaya》，都靈，2004年，圖34

Good overall condition. With wear, minor accretion and oxidation throughout. Traces of polychrome to the hair, and traces of cold gold at ears and neck.
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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."

In many of the early Tibetan bronze figures from the Nyingjei Lam Collection, we find the commanding legacy of Pala sculpture in multiple aspects including the elegance of form, the use of silver and copper inlay, and the stepped lotus platforms, all of which can be found in the current work.

Jambhala, Lord of Wealth and Abundance, is recognisable in his terrifying form of Kala Jambhala by his distinctive iconography, and is often portrayed as a fierce, ithyphallic figure. In the present lot, Kala Jambhala is depicted as a dwarf with thick, squat limbs; he is garlanded with snakes and his hair tied in an elaborate top-knot; a small figure of Amoghasiddhi rests atop the jatamukata; he holds a kapala in his right hand; and he stands in alidhasana atop a prostrate figure of Yellow Jambhala, who disgorges a shower of jewels from his mouth and whose left hand gently props up the heavy right thigh of his oppressor. It is possible that the usual raised arm of Yellow Jambhala may serve a dual purpose as a structural convention to reinforce the sculpture.

Compare the copper inlay; the sash and raised arm of Yellow Jambhala used as a support; and the wide, downturned single row of lotus petals on the base surmounted by a single row of beaded pearls with another thirteenth/fourteenth century ungilt bronze figure of Kala Jambhala also from the Nyingjei Lam Collection, see lot 3111.