Central Tibet&nbsp;

Figure of Akshobya

Central Tibet, 13th century

Bronze alloy, H. 58 cm

Private collection

The Akshobya is represented in the subtle form of Bliss (Sambhogakaya)—distinguished by his outstretched right hand in the Gesture of Earth-touching (Bhumisparsha mudra)—demonstrating his perseverance over egocentric forces, with his left hand in the Gesture of Meditation (Dhyana mudra).

The late Pala style is seen in the tall chignon and benevolent expression conveyed through his downcast eyes and upturned lips. The well-proportioned treatment of his face, the patinated surface and elaborate crown with interwoven tendrils exhibit Tibetan craftsmanship from the 13th century.

阿閦佛像

衛藏，13世紀

青銅合金，高58厘米

私人收藏

此為阿閦佛報身像，右手結觸地印，象徵降伏一切魔障，左手結定印，表禪定之意。

髮髻高聳，眼簾下垂，嘴唇微翹，面容慈祥，可見波羅王朝晚期風格。13世紀西藏之造像特色亦見於多處：輪廓比例有致，像身打磨光滑，寶冠精緻，花蔓交錯，工藝精湛。

Techniques 技藝

Figure of Chanda Vajrapani

Tibet, 12th–13th century

Copper alloy with a white metal inlay and pigment, H. 19 cm

Nyingjei Lam Collection

This wrathful form of Vajrapani assumes the Gesture of Warning (Tarjani mudra), formed by pointing index fingers on his left hand, and stands in a dramatic pose (pratyalidha) that signifies the hurling of projectile weapons, as he is certainly about to release the vajra brandished in his top right hand. With elephants and lions underfoot, a tiger skin around his waist and snakes for jewellery, Vajrapani is depicted as a terrific guardian able to subdue the most dangerous of creatures. This is all the more heightened by his biting a snake and imbibing its poison. Two severed heads representing the devotee’s ego are attached to a flaming prabhamandala, as are motifs of the sun and moon, symbolising wisdom and compassion.

Stylistically, the influence of the Pala sculptural tradition is evident in the treatment of the sculpture's necklace, sashes and lotus petals. Decorated by an eight-point star, symbols representing the dharma wheel, the rectangular throne with a projecting central section, as well as the halo’s flames, are also clearly inspired by earlier examples from Northeastern India.

威烈金剛手菩薩像

西藏，12至13世紀

紅銅合金、錯白合金、顏料，高19厘米

菩薩道收藏

此尊為金剛手菩薩之忿怒相。造型充滿張力，右腿彎曲、左腿伸展，呈戰鬥姿態。右手持金剛杵，作投擲狀，左手食指豎直，結期剋印，具威脅之意。足踏獅象，腰披虎皮，纏蛇型珠寶，顯示降伏一切猛獸，展現可怖的護法形象。菩薩吞咬毒蛇、飲下毒汁，更顯大威神力。火焰背光兩側各掛日月，代表智慧與慈悲，而倒掛的人頭則象徵斷滅我見。座上的八芒星標誌為法輪象徵。

此像蓮座、胸前、腰間的瓔珞飾物繁多，背光飾火焰紋，底座矩形，中央部分凸出，具印度東北波羅王朝的藝術風格。

Techniques 技藝

Figure of Mahachakra Vajrapani

Tibet, 16th century

Gilt copper alloy, turquoise and polychrome, H. 27 cm

Collection of Zhiguan Museum

The dynamic sculpture of Mahachakra Vajrapani in the tantric position yab-yum is distinguished by rich gilding and the vivid use of colour for both the flaming red hair and the intense expressions of the deities’ faces. Vajrapani is depicted with three faces and six arms, holding a vajra high in his upper right hand, assuming the Gesture of Warning (Tarjani mudra) in his left hand. He is engaged in sexual union with his consort, who offers a blood-filled skull cup in her left hand and wields a kartika in the right. Snakes writhe in and out of his mouth as he tramples the hostile nagas (serpent-spirits) underfoot. Key to Vajrapani’s wrathful emanation, snakes or nagas convey his role of subduing harmful forces and converting ‘poisonous’ emotions into virtue.

大輪金剛手菩薩像

西藏，16世紀

鎏金紅銅合金、綠松石、顏料，高27厘米

止觀博物館藏

此為雙身像，即男女雙修的形相。鎏金濃厚，色彩鮮艷，尤見於髮髻。金剛手菩薩三面六臂，右手高舉金剛杵，左手結期剋印。明妃與其合歡，左手持盈血顱器，右手握鉞刀。金剛手菩薩正吞噬纏繞的長蛇（代表龍魔），腳踏龍魔，象徵降伏魔障，化五毒為正果。

Techniques 技藝

Figure of an Eleven-headed Avalokiteshvara

Tibet, 14th century

Silver and copper inlaid bronze, H. 121 cm

Private collection

This figure is one of the largest known representations of the cosmic form of the Bodhisattva Avalokiteshvara, with a proportionally constructed tower of heads and fan of arms. The topmost head of the statue represents Buddha Amitabha. The ten heads, with placid, fierce and laughing faces, are all the emanations of Avalokiteshvara when enlightening different beings.

The principal arms are rendering the Gesture of Offering (Anjali mudra), while the two others hang down in the Gesture of Charity (Varada mudra, the granting of a wish) and the rest in the Gesture of Fearlessness (Abhaya mudra). The circles made with the fingers symbolise the taking of refuge as the union of method and wisdom, and the three extending fingers represent the Three Jewels of the Buddha, dharma (the law), and sangha (the monastic order) as the objects of refuge. All of the emblems, which include prayer beads, a book, a bow and arrow, a wheel and a water pot are now missing.

The Tibetan use of silver and copper to enhance the details of non-gilded bronzes is carried over from the Indian Pala period styles imported in the early days of contact. Inlaid silver draws dramatic focus on the whites of the statue’s piercing eyes and the teeth on angry faces, while red copper lends realism to the lips and fingernails.

十一面觀音像

西藏，14世紀

青銅錯銀及紅銅，高121厘米

私人收藏

此像最頂一面為如來相，代表阿彌陀佛；為渡眾生，其餘十面，現寂靜、忿怒、笑怒等相。前掌合十，隨後兩手施與願印，其餘結皈依印——兩指結成圓圈，象徵悲智雙運，豎起三指，代表皈依佛、法、僧三寶。原來手持法器，如念珠、書卷、弓箭、法輪、淨瓶等，現已散失。

西藏工匠沿襲印度波羅王朝遺風，以錯銀及紅銅修飾造像的細節，前者用於眼和牙、後者見於嘴唇和指甲，皆使形象更為像真、鮮明。

Techniques 技藝

Figure of Vajravarahi

Densatil, Central Tibet, 14th century

Gilt copper alloy, H. 36 cm

Cissy and Robert Tang Collection

A wrathful form of Vajrayogini, Vajravarahi is the embodiment of wisdom. She is distinguished by the sow’s head protruding from the right side of her face, a reference to her translated name, ‘Diamond Sow’. Vajravarahi stands atop a corpse while wearing a crown of skulls and a garland of severed heads, symbolising the impermanence of life. She holds in her left hand a skull cup, a libation bowl for the goddess marking the renunciation of worldly conventions; the curved knife in her right hand serves as a weapon to vanquish demonic enemies. The representation of both items symbolises the union of compassion and wisdom.

The bronze image’s powerful limbs, thick gilding, complex use of inlays and the base’s densely packed lotus petals exhibit Nepalese craftsmanship under the patronage of the Densatil Monastery, the religious stronghold for the Phagmodrupa school, a major branch of the Kagyu order that ruled central Tibet during the 14th and 15th century. The monastery’s main assembly hall includes eight multi-tiered, gilded stupas containing countless images known as the Many Doors of Auspiciousness (Tashi Gomang). Given Vajravarahi’s supreme status, she likely would have occupied the top tier of the Tashi Gomang, together with other meditational deities from the highest level of Yoga Tantras.

金剛亥母像

衛藏丹薩替寺，14世紀

鎏金紅銅合金，高36厘米

喜聞過齋藏

金剛亥母是金剛瑜珈母之憤怒相，為一切智慧之母。側面現母豬頭，因豬屬亥，故稱為「亥母」。腳踏屍體，披骷髏冠，戴人頭花環，象徵生命的斷滅、無常。左手持顱器，右手握鉞刀，前者為供養神明的器皿，承載一切福德資糧，後者則象徵斷除魔障之大智慧，兩者兼具是為悲智雙運。

此像由尼泊爾紐瓦爾工匠所製，四肢肌理有致、鎏金濃厚、鑲嵌寶石繁多、底座蓮瓣排列緊密。原供奉於丹薩替寺，屬噶舉派支系帕竹噶舉派。寺內有扎西戈芒佛塔（又稱吉祥之門），由八層鎏金雕塑組合而成。金剛亥母地位崇高，位於佛塔最頂的瑜珈壇城。

Techniques 技藝

Figure of Padampa Sangye

Tibet, 12th–13th century

Copper alloy, H. 25 cm

Nyingjei Lam Collection

The Yogin Padampa Sangye is rendered with wide-open staring eyes and twisted tresses standing on end. The right hand is raised in the Gesture of Fearlessness (Abhaya mudra) while the left hand holds the end of his robe. The lotus petal design, with its back containing cut-out shapes, resembles eastern Indian models. A baseplate of iron secures the consecration materials within the figure.

帕丹巴桑結像

西藏，12至13世紀

紅銅合金，高25厘米

菩薩道收藏

帕丹巴桑結為大瑜珈士。瞋目而視，梳螺旋髮式。右手施無畏印，左手執衣緣。承襲東印度造像傳統，蓮座背面經剜空，以鐵板封底，以儲存置於像內的裝藏聖物。

Techniques 技藝

Figure of Marpa

Tibet, 13th century

Silver and copper inlaid bronze, H. 13 cm

Nyingjei Lam Collection

Marpa Chokyi Lodro (1012-1097) was a yogin born in southern Tibet and enthusiastically sought Buddhist instruction in India. Marpa was famous in Tibet as a translator of Indian Buddhist texts but he neither founded nor joined a Buddhist institution. He was regarded as the founding Guru of the Kagyu (the Oral Tradition) school in Tibetan Buddhism.

Marpa was a yogin unattached to a monastery. His status as a householder, landowner and businessman is reflected in his clothing, which includes a long-sleeved robe secured at the waist by a thick sash and a heavy outer cloak, as well as boots. His long hair is combed into a whorl at the crown of his head. He holds a vajra and a bell, in accordance with one of his traditional iconographic forms.

瑪爾巴像

西藏，13世紀

青銅錯銀及紅銅，高13厘米

菩薩道收藏

瑪爾巴譯師（1012–1097年），本名卻吉羅珠，生於西藏南部，多次前往印度求法，並將佛典譯作藏文，但他沒有創立宗派或加入寺院，後西藏噶舉傳承奉為上師。

瑪爾巴乃在家修行的瑜伽士，同時是地主和商賈，其身分見於裝束之上：身穿長袍長靴，繫寬腰帶，披厚斗篷，頭髮盤成螺狀。手持金剛杵和金剛鈴的造型，屬傳統圖像樣式。

Techniques 技藝

Figure of Milarepa

Central Tibet, 15th–16th century

Parcel gilt silver with gilt bronze base, H. 13 cm

Nyingjei Lam Collection

Milarepa (1040-1123), a singing saint and a progenitor of the Kagyu lineage, was Marpa’s student. He was referred to Marpa by another teacher who was unable to provide effective instruction. Marpa, being aware that Milarepa had first of all to purify himself from the negative karma he had accumulated, exposed him to an extremely hard apprenticeship. Finally, Marpa gave Milarepa full transmissions of all his teachings and Milarepa achieved spiritual liberation. In the figure, Milarepa’s parted lips suggest the singing of the songs for which he is famed throughout Tibet.

Inscription (lotus petal base):

This silver image of Mila[repa], king of the sacred doctrine, was set up at Nyug Peak by monk Gagi Wangpo. Through this virtuous act may [all beings] . . . achieve [the level of] Vajradhara, embodiment of the four Buddha bodies! May good auspices prevail!

Inscription (baseplate)

Homage to the venerable Mila Shepei Dorje! May my kind mother Sonam Zemo attain Buddhahood!

密勒日巴像

衛藏，15至16世紀

銀鎏金、青銅底座鎏金，高13厘米

菩薩道收藏

密勒日巴（1040-1123年）為西藏詩人、噶舉派宗師，師承瑪爾巴。密勒日巴起初跟隨另一位上師修法，但未見受用，上師後來向他推薦瑪爾巴。瑪爾巴著其苦行，以消除往昔惡業，終授其畢生所學，而密勒日巴亦證佛果，四處遊歷說法。密勒日巴像右手支耳作傾聽狀，左手持顱杯，雙唇微張，誦唱道歌弘法。

蓮座刻文大意：

密勒日巴法王銀像，立於山峰Nyug，造像者僧人旺波。願此功德迴向眾生，願證金剛總持四身佛境！如意吉祥！

底座刻文大意：

禮敬密勒日巴！願吾母Sonam Zemo速證佛境！

Techniques 技藝

Figure of the Fifth Sharmapa

Tibet, 16th–17th century

Gilt silver with pigment, H. 12 cm

Private collection

Sharmapa is a lineage holder of the Karma Kagyu school of Tibetan Buddhism and is regarded to be the mind manifestation of Amitabha. This gilt silver image portrays the Fifth Sharmapa, Konchok Yanglak (1525–1583), recognised as the reincarnation of the Fourth Sharmapa. The Sharmapa was formally enthroned in a ceremony conducted by the Eighth Karmapa Mikyo Dorje (1507–1554), who served as his teacher of esoteric doctrines.

五世夏瑪巴像

西藏，16至17世紀

銀鎏金、顏料，高12厘米

私人收藏

夏瑪巴是藏傳佛教噶舉派持教法王之一，該派尊為阿彌陀佛化身。此鎏金銀像為五世夏瑪巴袞秋顏拉（1525–1583年），被視為四世夏瑪巴的轉世，由八世噶瑪巴（最高持教法王，該派視為金剛總持化身）彌覺多吉（1507–1554年）主持陞座大典，並授予密法。

Techniques 技藝

Figure of the Fifth Dalai Lama

Tibet, 17th century

Gold, H. 5 cm

Nyingjei Lam Collection

The fifth Dalai Lama, Ngagwang Lobzang Gyatso (1617–1682), is also known as ‘the Great Fifth’. With the aid of Sonam Chapel, his acting regent, and with the military support of Gushi Khan (the founder of the Khoshut Mongols), Lobsang Gyatso was able to defeat his last political rival, the prince of Tsang, and unite all of Tibet in 1642. One of the Fifth’s most famous projects within his lifetime was the construction of the Potala Palace as the Gelug seat of power in Lhasa.

Cast entirely in gold, this sculpture captures the Fifth Dalai Lama’s stocky frame, short neck and shaved head. He is wrapped in a heavy meditation cloak with deeply incised floral scrolls, seated atop a square cushion with equally elaborate decorations.

Inscription:

The victorious king, the omniscient Ngawang Gyichuk Lobsang Gyatso, the virtuous, we honour [him].

五世達賴喇嘛

西藏，17世紀

黃金，高5厘米

菩薩道收藏

達賴喇嘛是格魯派轉世傳承的領袖。五世達賴喇嘛阿旺羅桑嘉措（1617–1682年），藏人稱為「至尊五世」。得攝政索南群培輔助，並借蒙古固始汗之力，五世達賴於1642年推翻噶瑪政權，一統西藏。在位期間，於拉薩修建布達拉宮──此後格魯派的權力中心。

此像以純金鑄造，體態豐潤，頸項較短，頭頂光滑，僧袍飾以捲狀花紋，寶座紋飾繁多。

刻文：

尊勝王阿旺羅桑嘉措，大德，吾等禮敬。

Techniques 技藝

Figure of Padmasambhava

Tibet, 16th century

Gilt copper alloy, H. 20 cm

Cissy and Robert Tang Collection

Padmasambhava, known in Tibetan as Pemajunge or the Lotus Born, is widely revered among the Vajrayana traditions as Guru Rinpoche, or Precious Teacher. Also credited with the introduction of Buddhism into Tibet from India in the 8th century, he is the root guru of the Nyingma order and the ‘Second Buddha’ who initiated the practice of placing treasure teachings (terma) in hidden caches throughout the Himalayan plateau.

Padmasambhava’s face is rendered with sculptural quality and his royal attire is incised with Ming-style floral and ring-punched decorations. The crenulated lotus petals on his seat indicate Bhutan craftsmanship.

Behind the back of the lotus base are two inscriptions:

Upper inscription: ‘Powerful Skull Garland [Padmasambhava], embodiment of the peaceful and wrathful sugatas. For those who in reality need to be guided by seeing the fresh air and nectar, may this [sculpture] become meaningful and a wish-fulfilling gem.’

Lower inscription: ‘This wish granting image was created through pure intention, by the merit of this may Dondrub Wangyal be born in Shri Parvata, having experienced the insatiable festival of the noble doctrine of the supreme vehicle; may it bestow blessings to obtain the stage of the four kinds of Vidyadhara.’

Thangka of Achala

India / Tibet, 11th century

Pigment on cloth, H. 116 x W. 79 cm

Private collection

Acala (The immovable) is one of the wisdom kings to enable a Buddhist to overcome obstacles encountered in the pursuit of enlightenment, whether these are the demons who cause disease or the individual’s own negative mental states.

Achala stands in a warrior pose with his right knee bent, befitting his role as a guardian figure. His feet trample the Hindu deities Shiva and Ganesh who are gazing at Achala, here represented as bgegs–evil forces hindering enlightenment. Ten emanations of Achala emerge in mid-air from the main figure, each in a unique, highly animated vanquishing posture that is the outward expression of the immovable central figure’s capacity to destroy all those who act inappropriately. Atisha, who introduced the iconography of Achala to Tibet in the 11th century, is included at the bottom left of the main figure.

The extravagant use of gold, a Tibetan artistic feature in thangka, is seen in the rendering of the deity’s adornments. The crowns, necklaces and belts are all composed of bejewelled golden elements supported by red cloth.

不動明王唐卡

印度／西藏，11世紀

布帛、顏料，高116、闊79厘米

私人收藏

不動明王為佛教護法，「不動」是指慈悲不變，聞其名可斷惡修善，遠離疾苦魔障，故示以戰鬥姿態，右腿彎曲、左腿伸展，腳踏阻礙修行的魔障，唐卡中表現為印度教神祇濕婆和象頭神。身後為其十種形相，各持武器，使人斷惡修善。唐卡左下方是阿底峽大師，其於11世紀將不動明王的圖像引入西藏。西藏唐卡大量運用黃金，如不動明王的寶冠、項鍊和腰帶皆以黃金上色，並以紅布作背景襯托。

蓮華生像

西藏，16世紀

鎏金紅銅合金，高20厘米

喜聞過齋藏

蓮花生之名意為生於蓮花，信眾尊稱為蓮師、古魯仁波切和第二佛陀。8世紀從印度入藏創立僧團，為寧瑪派之開山祖師。他於藏地埋藏許多經典，以便後世具緣弟子修習使用，是為伏藏。

蓮華生面相分明，長目高鼻，額頭寬闊，大耳下垂，長袍鏨滿錦紋，繁縟華麗，衣褶折疊自然，展現明朝造像特色。底座蓮瓣浮凸，亦顯示不丹工藝。

蓮花座後刻文大意：

上句：蓮華生為佛慈悲與忿怒相之化身。此像乃如意寶珠，助信眾得空氣（法性）與甘露（永生）。

下句：敦竹汪甲生於吉祥山，修無上乘，願供奉蓮華生，故造此像。祈願蓮師護持信眾，修持四法皆得成就。

Techniques 技藝