此尊喜金剛鎏金銅像為明代早期皇家御用之作，體現了密宗佛教的宗教意涵與精湛工藝。其宏偉規模與精美細節彰顯了帝王供奉的重要地位，是同時期佛教藝術中的珍品。
菩提曼拏羅基金會典藏
明初 鎏金銅喜金剛立像
Property from the Bodhimanda Foundation
A monumental gilt-bronze figure of Kapaladhara Hevajra,
Early Ming dynasty
overall h. 67.5 cm
Estimate
12,000,000 - 15,000,000 HKD
Lot Sold
26,400,000 HKD
Condition Report
The bronze is well preserved with extraordinary detail and original rich gilding. As visible in the photos, there are missing attributes in the hands, and the figures under the feet. There are areas which have been restored, including the skirt at the front and back that have been made up, and the kapala at the reverse. Photos of the 1970 publication pre-restoration are available upon request. The base is unsealed.
整體品相良好，細節及原始鎏金保存完整。如圖錄所見，些許手持法器缺失，腳下人像缺失。部分位置經修，包括正面及背面部分裙飾經重做，以及背面嘎巴拉。1970年出版修復前照片可供索取。無封底。
Provenance
Collection of Eduardo Lingero, Brussels, until March 1979.
A European private collection.
Gifted to the Bodhimanda Foundation, The Netherlands, 2011.
Eduardo Lingero 收藏，布魯塞爾，1979年3月
歐洲私人收藏
贈予菩提曼拏羅基金會，荷蘭，2011年
Literature
Jacques Van Goidsenhoven, Art Lamaïque Art Des Dieux, Bruxelles, 1970, pp. 126-127.
Erik Bruijn, Tibet-China & Japan, Wereldmuseum, Brussels and Rotterdam, 2011, pp. 55-57.
Bronze, Royal Academy of Art, London, 2012, cat. no. 76.
Michael Henss, 'Sacred Spaces and Secret Visions: Tibetan Buddhist Art from the Bodhimanda Foundation', Orientations, January/February 2012, pp. 68-69.
Jacques Van Goidsenhoven，《Art Lamaïque Art Des Dieux》，布魯塞爾，1970年，頁126-127
Erik Bruijn，《Tibet-China & Japan》，世界博物館，布魯塞爾及鹿特丹，2011年，頁55-57
Michael Henss，〈Sacred Spaces and Secret Visions: Tibetan Buddhist Art from the Bodhimanda Foundation〉，《美成在久》，2012年1/2月，頁68-69
Exhibited
Wereldmuseum, Rotterdam, 2011-2020.
Bronze, Royal Academy of Art, London, 15th September to 9th December 2012.
世界博物館，鹿特丹，2011-2020年
《Bronze》，皇家美術學院，倫敦，2012年9月15至12月9日
此組造像塑密宗本尊喜金剛，八面、四腿、十六臂，各手捧一嘎巴拉盌，部分盌上另設法器，可見一貓、一獅、一馬尚存，皆單獨鑄造。喜金剛著錦衣華服、珠寶瓔珞，頭頂骷髏冠，肩披人頭花環，腰裹骨圍裙，裙襬垂鈴，所擁無我明妃持嘎巴拉盌及金剛鉞刀，亦戴骷髏冠、人頭項鍊並穿垂鈴骨圍裙。主尊以右展立姿站於雙層蓮台上，內膛中空，可藏經卷，以銅鎏金板封印，封板與瓔珞融為一體，位於喜金剛脊背中央。
遍覽明初造像記錄，此尊喜金剛擁妃像尺寸魁碩無雙，鑄工上乘，實屬御製傑作。且比永樂銅鎏金喜金剛像五尊，皆小巧易攜，乃典型皇家禮賜，其中三尊奉於西藏寺院，見烏爾里希．馮．施羅德，《西藏佛教雕塑》，香港，2001年，卷2，圖版347C-F；此尊大像必龕於寺，或專為漢地佛寺所造。有明初銅鎏金藏傳造像七尊，均為漢地佛寺定造，尺寸碩大，頭冠、圍裙、瓔珞及蓮台可比此尊。七尊皆由 Gumpel 收藏釋出，1904年在德魯奧大樓拍出：其一，擁妃大威德金剛，80公分，後售於紐約蘇富比1999年3月25日，編號122（圖一）；其二，獨雄大威德金剛，98.8公分，後售於香港佳士得2016年11月30日，編號3234；其三，擁妃大威德金剛，94公分，後售於德國納高2021年6月23日，編號8；其四、其五，六臂大黑天、密集金剛，各70公分，錄於烏爾里希．馮．施羅德，《印度與西藏的銅造像》，香港，1981年，圖版151A-D；其六，大輪金剛手，現藏斯圖加特林登博物館，錄前述出處，圖版151B；其七，獨雄大威德金剛，現存處不詳，可見傑夫．瓦特，喜馬拉雅藝術資源網，編號30430。另比較明初銅鎏金四臂大黑天一尊，57.8公分，售於紐約蘇富比1998年3月26日，編號161；亦可比菩提曼拏羅基金會珍藏寶帳大黑天，同場呈獻（拍品編號3815）。
喜金剛與無我明妃腰帶處作寶珠花結，乃明代大規格造像所獨有，可參考賽努奇博物館藏永樂銅鎏金菩薩立像，高136公分，原奉青海瞿曇寺，據杜凱鶴研究，此例乃為瞿曇寺定造，見《Faith and Empire: Art and Politics in Tibetan Buddhism》，魯賓藝術博物館，紐約，2019年，編號1.17（圖二）。此紋飾亦見於大成就者毘魯巴像一尊，79公分，藏維多利亞與艾爾伯特博物館，展於《明：盛世皇朝五十年》，大英博物館，倫敦，2014年，編號204，且見於前述四臂大黑天，57.8公分，售於紐約蘇富比1998年3月26日，編號161；該四臂大黑天踝鐲碩寶疏朗，夾於兩圈小珠之間，與此尊喜金剛相類。蓮台式樣亦與賽努奇永樂菩薩頗似，下沿收窄，添飾小珠，蓮瓣寬展，瓣尖作三股卷紋，上沿再飾小珠，種種皆是明初大規格造像之典型。若論大規格造像底座紋飾風格，永宣別無二致，參考一宣德無量壽佛，57.1公分，先後售於紐約蘇富比1999年3月25日，編號121，及香港佳士得2010年5月31日，編號1961（圖三），同樣與賽努奇永樂菩薩相似。
FAQ: 大型鎏金銅像《持嘎巴拉的喜金剛》
這尊鎏金銅喜金剛像的意義是什麼？
這尊大型鎏金銅像展現了密宗佛教的重要護法神——持嘎巴拉的喜金剛（Kapaladhara Hevajra）。其巨大規模與卓越工藝表明，它極可能是明朝早期的皇家御用作品，象徵著至高的宗教與政治權威。該雕像是目前所知明代最大的一尊喜金剛與明妃造像。
喜金剛像有哪些顯著的外觀特徵？
喜金剛被描繪為八面、四足、十六臂，每隻手持一個嘎巴拉（頭骨碗）。部分嘎巴拉內保留了原始雕飾，如貓、獅子和馬等形象。他全身佩戴華麗的飾品，包括骷髏冠、斷頭串成的花環、骨飾圍裙及鈴鐺。其明妃空行母（Nairatmya）穿著類似服飾，手持嘎巴拉和屠刀。
這尊喜金剛像可能陳列於何處？
與可攜式的喜金剛像不同，這種大型造像應是為中國境內的重要寺院而特別訂製的。此推測得到了其他明代早期大型密宗銅像的支持，這些作品也被認為是專為主要宗教場所而製作的。
有哪些證據表明此像為明代早期作品？
雕像上的風格特徵，例如喜金剛與明妃腰帶上的花飾與寶石圖案，屬於明代大型佛教雕像的典型風格。類似的裝飾還見於其他明永樂時期的著名作品，例如現藏於法國瑟努奇博物館的站立菩薩像。
是否有其他可供比較的明代佛教銅像？
有幾件可比較的作品進一步證實了這尊喜金剛像的時代和重要性。例如，1999年在紐約拍賣的一尊《金剛怖畏金剛與明妃像》，以及2016年在香港佳士得拍賣的一尊《單勇金剛怖畏像》，它們在規模與風格上與此像相似，顯示其可能都來自重要的宗教場所。
這尊鎏金銅喜金剛像的保存狀況如何？
該銅像保存良好，細節精美，且保留了大部分原始鎏金。但部分手持器物和足下雕像有遺失，裙部的正面與背面經過修復，後方的嘎巴拉亦有修補痕跡。
這尊喜金剛像曾在何處展出？
該銅像曾於2011年至2020年展出於荷蘭鹿特丹世界博物館（Wereldmuseum）。此外，還於2012年9月至12月在倫敦皇家藝術學院的《青銅》展覽中亮相。
是否有這尊喜金剛像的來源記錄？
這尊喜金剛像的來源有詳細記錄：1979年前屬於比利時布魯塞爾的愛德華·林格羅（Eduardo Lingero）收藏，隨後轉入歐洲私人收藏。2011年，它被捐贈給荷蘭菩提曼陀羅基金會（Bodhimanda Foundation）。此外，許多關於西藏與佛教藝術的出版物也提到過這尊雕像。
The dynamic tantric group depicts the Vajrayana Buddhist meditational deity Hevajra with eight faces, four legs, and sixteen arms, a skull bowl (Skt. kapala, Tib. thod-pa) in each hand, some retaining separately-cast attributes including a cat, a lion, and a horse. Hevajra is wearing regal jewelry, skull crowns, a garland of severed heads and a bone apron with pendant bells, his consort Nairatmya (Tib. Dagmema) holding a skull bowl and flaying knife (Skt. kartika, Tib. drigu), and wearing a skull crown, a human skull necklace, and a bone apron with pendant bells, the deities stepping to the right (Skt. alidhasana) on a double lotus pedestal, the consecration cavity within the figures sealed with a gilt-bronze plug disguised as a section of jewelry in the middle of Hevajra’s back.
This rare and finely cast gilt-bronze is the largest recorded Hevajra and consort from the early Ming dynasty, and a highly important imperial commission. While at least five Yongle gilt-bronzes of Hevajra are known – all cast in the small transportable size typical of imperial gifts, three of which are in Tibetan monastery collections, see Ulrich von Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2001, vol. II, pls 347C-F, this large temple sculpture is likely to have been commissioned for a shrine within China. Compare the skull and chakra-wheel crowns, aprons, jewelry, and lotus pedestals of seven large early Ming tantric gilt-bronzes formerly in the Gumpel Collection that were offered at Hôtel Drouot in 1904, all of which were likely commissioned for shrines in China, including an 80 cm Vajrabhairava and consort later sold in our New York rooms, 25th March 1999, lot 122 (fig. 1); a 98.8 cm early Ming gilt-bronze Ekavira Vajrabhairava sold at Christie’s Hong Kong, 30th November 2016, lot 3234; a 94 cm Vajrabhairava and consort at Nagel Auktionen, 23rd June 2021, lot 8; a 70 cm Shadbhuja Mahakala and a Guhyasamaja in Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, pls 151A-D; a Mahachakra Vajrapani now in the Linden-Museum, Stuttgart, ibid, pl. 151B; and an Ekavira Vajrabhairava present whereabouts unknown but see Jeff Watt, www.himalyanart.org, item no. 30430. Compare also a 57.8 cm early Ming gilt-bronze Chaturbhuja Mahakala sold in our New York rooms, 26th March 1998, lot 161: and the Bodhimanda Foundation Panjarnata Mahakala in this catalogue (lot 3815).
Stylistic details seen only on these large-scale Ming works include the decoration of Hevajra and Nairatmya’s belts with the distinctive alternating rosette and jewel motif, similar to that of the Musée Cernuschi Yongle period 136 cm standing gilt-bronze bodhisattva from Qutansi monastery, Qinghai Province, identified by Karl Debreczeny as having been commissioned for the Qutansi monastery, see Faith and Empire: Art and Politics in Tibetan Buddhism, Rubin Museum of Art, 2019, cat. no. 1.17 (fig. 2): on the 79 cm mahasiddha Virupa in the Victoria and Albert Museum, see Ming: 50 Years That Changed China, The British Museum, London, 2014, cat. no. 204: and on the 57.8 cm Chaturbhuja Mahakala sold in our New York rooms, 26th March 1998, lot 161, which also features similar anklets to the Hevajra with jewels widely spaced within beaded bands. The lotus-pedestal design is also closely comparable to the Musée Cernuschi bodhisattva, with a tapering lower rim, the recess above with a string of large pearls, the double row of wide lotus petals with a triple flourish at the tips, and a second string of slightly smaller pearls above, all typical characteristics of large scale early Ming Buddhist bronzes. Stylistically, the bases of large-scale Yongle and Xuande mark and period bronzes are virtually indistinguishable, as seen for example on a 57.1 cm Xuande Amitayus, first sold in these rooms, 25th March 1999, lot 121, and more recently at Christie’s Hong Kong, 31st May 2010, lot 1961 (fig. 3), compared with the Musée Cernuschi Yongle bodhisattva.
FAQ: Monumental Gilt-Bronze Figure of Kapaladhara Hevajra
What is the significance of this gilt-bronze figure of Hevajra?
This monumental gilt-bronze figure represents Kapaladhara Hevajra, a prominent deity in Vajrayana Buddhism. Its size and exceptional craftsmanship point towards it being a high-ranking imperial commission from the early Ming dynasty. The sculpture stands out as the largest known Hevajra and consort figure from this period.
What are some notable features of the Hevajra figure's appearance?
Hevajra is depicted with eight faces, four legs, and sixteen arms, each holding a skull bowl (kapala). Some of the bowls retain original attributes like a cat, a lion, and a horse. He is adorned with elaborate jewelry, skull crowns, a garland of severed heads, and a bone apron with bells. His consort, Nairatmya, mirrors his attire, holding a skull bowl and flaying knife.
Where was this Hevajra figure likely displayed?
Unlike smaller, portable Hevajra figures commonly given as imperial gifts, this large-scale sculpture was likely commissioned for a prominent shrine within China itself. This is further supported by comparisons with other large early Ming tantric bronzes, which are believed to have been created for similar purposes.
What evidence suggests this figure is an early Ming dynasty piece?
Stylistic elements like the distinctive rosette and jewel motif on the belts of Hevajra and Nairatmya are characteristic of large-scale Ming dynasty sculptures. This particular motif can be found on other notable early Ming works, such as a standing bodhisattva from the Yongle period now housed in the Musée Cernuschi.
Are there any comparable examples of early Ming Buddhist bronzes?
Several comparable examples support the dating and significance of this Hevajra figure. A Vajrabhairava and consort, sold in New York in 1999, and an Ekavira Vajrabhairava, sold at Christie’s Hong Kong in 2016, share similar stylistic features and monumental scale, suggesting they were also created for significant shrines.
What is the condition of the gilt-bronze Hevajra figure?
The bronze is remarkably well-preserved, retaining exquisite detail and much of its original gilding. However, some attributes in the hands and figures beneath the feet are missing. The skirt has undergone restoration at the front and back, as has the kapala on the reverse.
Where has this Hevajra figure been previously exhibited?
The sculpture was showcased at the Wereldmuseum in Rotterdam from 2011 to 2020. It was also featured in the "Bronze" exhibition at the Royal Academy of Art in London from September to December 2012.
Is there any documentation of the Hevajra figure's provenance?
The Hevajra figure's provenance is well-documented. It belonged to the collection of Eduardo Lingero in Brussels until 1979, then passed into a European private collection before being gifted to the Bodhimanda Foundation in the Netherlands in 2011. Numerous publications on Tibetan and Buddhist art also feature this specific sculpture.
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