Northeast India

印度東北

Areas of Bihar and Bengal in northeastern India came under the rule of the Pala and Sena dynasties from the 8thto 12th centuries. Pala statues are distinguished by their bulk, thick and elongated physiques, solemn facial expressions, massive halos and lotus thrones and formalised, elaborately inlaid ornaments. Buddhism was eventually driven out from the Ganges by Muslim troops in the 12th century.

8至12世紀，印度東北的比哈爾和孟加拉地區，受波羅王朝和犀那王朝統治，佛教在印度進入最後的繁榮時期。波羅造像用料厚重、身體寬厚而略長、表情莊重、背光及蓮座高大、鑲嵌裝飾精美。12世紀，穆斯林軍隊橫掃恒河流域，佛教沒落。

Figure of Padmapani

Bihar, Northeast India, Pala period, 11th–12th century

Copper and silver inlaid brass alloy, H. 14 cm

Cissy and Robert Tang Collection

Padmapani is presented as a princely figure seated in the Royal Ease pose (Rajalila asana). Further emphasising his role as a saviour gazing down upon the world, his palm is raised in the Gesture of Fearlessness (Abhaya mudra) as he casts a benevolent expression.

Artistic traditions from the Pala empire can be seen on its elongated eyes, thick lips, tall chignon and elaborate ornaments especially with the beaded edges on the base. However, the inscribed base plate is not commonly seen among other bronzes from the Pala empire. The traces of cold gilding preserved on the back of the neck implies that the figure’s face was painted with gold in Tibet, where such rituals of empowerment were commonly practised.

蓮華手觀音像

東北印度比哈爾邦，波羅王朝，11至12世紀

黃銅合金錯銀及紅銅，高14厘米

喜聞過齋藏

蓮花手菩薩坐姿舒坦，為自在坐，施無畏手印，代表觀音之慈悲，具免除恐懼之大威神力，保護眾生修法。

此像眉目深長，嘴唇寬厚，髮髻高聳，裝飾華美，蓮座邊緣飾以聯珠紋，展現典型波羅王朝造像特色，然而底座刻文當時並不常見。而後頸有少量黃金，可推斷面部曾有鎏金，此像或傳至西藏，經開光儀式加持。

Techniques 技藝

Lost wax casting 失蠟鑄造