十一至十二世紀 東印度帕拉銅合金錯銀及紅銅作明佛母像

喜瑪拉雅藝術資源網編號13437

紐約蘇富比2002年3月21日，編號73
Francisco Capelo 收藏
紐約蘇富比2010年3月24日，編號28

The sculpture is in overall good condition. The point where the back of the figure meets the mandorla and the foot meets the base have been secured. There is general oxidisation to the surface, but the overall patina and copper and silver inlays are very well preserved.
"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."

作明佛母源於喜金剛密續，亦被奉為度母懷攝眾生之化身。東印度有載可循之神像寥寥可數，此帕拉式銅鑄作明佛母像便為其中之一，罕若辰星，超凡絕塵。喜金剛密續由印度發軔，雖多有造像，作明佛母卻不然。烏爾裡希．馮．施羅德研究西藏寺院藏印度造像，未見類例。比較一尊十一世紀例，發現於 Achutrajpur，現藏奧里沙邦邦立博物館（Orissa State Museum），錄於 Nihar Ranjan Ray、Karl Khandalavala 及 Sadashiv Gorakshekar，《Eastern Indian Bronzes》，新德里，1986年，圖版295。本品為典型帕拉式造像，當由孟加拉或比哈爾之鑄銅中心所作。銅錯銀乃該地金屬匠師之絕技，施於此像，更顯儀態。此尊作明佛母引人入勝，雙目炯炯，以紅銅塑造，齒牙熠熠，藉白銀突顯。舞姿之靈動泰然，經巧匠妙手呼之欲出。此像比例考究，做工牢固，歷千載而彌堅。其各部分鑄，背光及底座乃一體而鑄，於佛像身後以粗柄穿過火焰形背光鉚接而成，由背光支撐，故而天女可單足掂立，步態輕盈。另比較一帕拉式天女像，鉚接技法相類，見烏爾裡希．馮．施羅德，《西藏佛教雕塑》，香港，2001年，卷1，圖版94A。