Nepal
尼泊爾
Due to the Muslim invasions, Buddhists from northeast India also shifted to Nepal in the late 12th century and early 13th century. Local styles developed and exerted a strong influence on Tibetan art. Nepalese statues produced in this period had bulky torsos, a broad and slightly concave forehead, elongated earlobes and thin garments. Delicately adorned with sophisticated motifs, crowns, earrings, jewelled chains and belts were inlaid with various precious stones and silver.
受穆斯林軍隊侵擾，印度東北的佛教徒亦於12世紀末、13世紀初遷入尼泊爾，當地藝術風格逐漸成熟，對西藏藝術影響漸深。此時期造像體型豐潤，額寬而略向下凹，大耳垂肩，衣質輕薄，裝飾極盡華麗，尤其寶冠、耳環、瓔珞、腰帶等部分裝飾紋樣繁巧，鑲嵌大量寶石，錯銀甚多。
Figure of Amoghapasha
Nepal, 8th–9th century
Copper with traces of gilding and pigment, H. 32 cm
Private collection
The Amoghapasha is shown here in the tribhanga pose, dressed simply, including the sacred thread (upavita), antelope skin and scarf. Amoghapasha’s twelve arms are arranged in a fan shape. Unfortunately, the arms have been damaged over the years and are now nearly all displaced.
Amoghapasha is particularly popular in Nepal and is rarely encountered in Tibet. However, this image was likely worshipped in Tibet for a significant period of time, as confirmed by the traces of gold paint on the face and neck and the blue pigment in the hair.
The webbing between the fingers is one of the thirty-two physical characteristics (lakshanas) of an enlightened being. Along with the diaphanous robe, the pronounced nose and the protruding lower lip, these sculptural characteristics were derived from the ideals of the great artistic era of the Indian Gupta kings and were rendered throughout the Licchavi period (4th–9th century) in Nepal until the start of the Malla period in the 13th century.
不空羂索觀音像
尼泊爾，8至9世紀
紅銅，少量鎏金、顏料，高32厘米
私人收藏
此像以三折肢式站立，衣飾簡樸，僅有聖纓、羚羊皮和領巾。六雙手臂如扇形張開，經年累月，破損甚多，故已悉數置換。雖然不空羂索觀音在尼泊爾更為流行，但其面、頸的鎏金以及頭髮上的藍色顏料，顯示此像應曾於西藏受供奉。
此像呈手足指縵網相，即指間相連如蹼，為佛三十二相之一。其衣裝通透，鼻、唇凸出，皆源自笈多王朝的美學傳統，多見於尼泊爾早期造像（離車毗時期，4至9世紀），直至馬拉王朝（13世紀）沒落。
Techniques 技藝
Figure of Avalokiteshvara
Nepal, 9th–10th century
Gilt copper alloy, H. 52 cm
Collection of Zhiguan Museum
The Avalokiteshvara casts an introspective glance as he lowers his right hand in the Gesture of Granting Wishes (Varada mudra). The emergence of the Buddha Amitabha (Padmapani’s spiritual ancestor) within the central leaf of his crown solidifies his identity as the Bodhisattva of Compassion.
This poised figure of Avalokiteshvara is a classic rendition of the post-Licchavi standing bodhisattva. His overall composition, including his heftier proportions, the beaded inner ring of the halo, the asymmetrical length of his lower garment and the crossing of the sacred thread with a diagonal sash at his waist, are features consistent with Nepalese images dating to the 9th and 10th centuries.
觀世音菩薩像
尼泊爾，9至10世紀
鎏金紅銅合金，高52厘米
止觀博物館藏
此像雙目低垂，作冥想狀，右手施與願印。觀世音菩薩為阿彌陀佛脅侍，故寶冠中央有佛像。體型寬厚，背光內緣飾以聯珠紋，裹裙飄揚，聖纓和帔帛繞匝腰間，可見9至10世紀尼泊爾後離車毗時期的造像風格。
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Figure of Shakyamuni
Nepal, Kingdom of Khasa Malla, 13th century
Gilt copper alloy, H. 50 cm
Collection of Zhiguan Museum
With his right hand stretched forward in the Gesture of Touching the Earth (Bhumisparsha mudra), which symbolises the overcoming of evil forces and hindrances, Shakyamuni encapsulates the moment of his enlightenment and victory over the demon king Mara in Bodh Gaya in northeastern India. The figure is rendered with downcast eyes, which convey a disconnection from the superficial attachments and concerns of the world.
Shakyamuni’s broad torso, wide forehead and nose, and thick toes and fingers reflect the Newari traditions of the Kathmandu Valley at the beginning of the early Malla period (13th–15th century). However, the rice-grain pattern on the hems of the robe, the ruby-inlaid flowers tucked behind the ears, and the teardrop-shaped urna inlaid with turquoise are attributed to the Khasa Malla kingdom in western Nepal and western Tibet, from where Khasa kings were known to hire artists for the creation of Buddhist images.
釋迦牟尼像
尼泊爾，迦舍末羅王國，13世紀
鎏金紅銅合金，高50厘米
止觀博物館藏
此像右手結觸地印，乃釋迦牟尼在印度東北菩提伽耶證悟時，斥退魔王波旬的印相，故又稱「證成印」，可令一切魔障煩惱悉皆不動。眼簾低垂，表示斷離塵俗掛慮。
釋迦牟尼身軀壯碩、額頭和鼻樑寬闊、手腳趾部粗大，皆反映加德滿都紐瓦爾工匠於早期馬拉王朝時期（13至15世紀）之藝術傳統。而衣緣的聯珠紋、耳背嵌紅寶石花飾、嵌綠松石水滴形白毫，皆為藏西及尼泊爾西部迦舍末羅王朝之造像特色。該國王室曾聘請紐瓦爾工匠，為其製作佛像。
Techniques 技藝
Figure of Vajradhara
Nepal / Tibet, 16th century (crown in 19th century)
Gilt copper, H. 94 cm
Private collection
The vajra and bell held in the figure’s hands symbolise compassion and wisdom. Made by Newar artisans, the entire figure is executed in the repoussé technique, except for the hands, which are cast and attached. Except for the back, this figure is richly gilded. The stand consists of a thin ‘cushion’ form of repoussé clad wood. Vajradhara is well known in Nepal, but his representations are more common in Tibet, so the figure may have been made for a Tibetan patron.
Among many larger works, or those attached to the architectural décor, repoussé, loosely defined as ‘hand-embossed’, are executed. Slabs of copper are either hammered, repeatedly turned from front to back in a bed of supporting resin or pitch or, more rarely, pounded out over wooden forms, then riveted and held together by supports. The technique has been a speciality of the Newar artisans of the Kathmandu Valley since the 7th century. The period of the 15th and 16th centuries was a high point of Nepalese repoussé work, much sought after in Tibetan monasteries as decorations on toranas, stupas, walls and doors.
金剛總持像
尼泊爾∕西藏，16世紀（寶冠製於19世紀）
鎏金紅銅，高94厘米
私人收藏
金剛總持像手執金剛杵和金剛鈴，分別代表慈悲與智慧，象徵悲智雙運。此像由紐爾瓦工匠錘揲所製，唯雙手另經鑄造後與像身接駁，除背部外，通體鎏金。其底部木座外緣亦經錘揲加工，作為座墊。金剛總持雖在尼泊爾為人所知，但於藏地更廣為供奉，故此像或由藏人從紐爾瓦工匠訂製。
錘揲鍛造多用於體積較大或作建築裝飾之造像，即將銅片置於樹脂或木製的模上，反覆錘揲成形，各部分再以鉚釘接駁。自7世紀，加德滿都河谷的紐瓦爾工匠已掌握此法，於15至16世紀，更是大為盛行，西藏寺院塔門牌坊、佛塔、牆垣及門上的裝飾，多以錘揲工藝鍛造。
Techniques 技藝
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