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天价成交的造像:尼泊尔马拉王朝早期 十三世纪铜鎏金绿度母像

摘要: 2022年3月22日 · 纽约邦瀚斯:印度、喜马拉雅和东南亚艺术https://www.bonhams.com/auction/27510/lot/305/a-gilt-copper-alloy-figure-of-green-tara-nepal-early-malla-period-13th-century/  LOT 305  尼泊尔马拉王朝早期 十三世纪铜鎏金绿度母像H 9 in. (2

2022年3月22日 · 纽约

邦瀚斯:印度、喜马拉雅和东南亚艺术


https://www.bonhams.com/auction/27510/lot/305/a-gilt-copper-alloy-figure-of-green-tara-nepal-early-malla-period-13th-century/

  LOT 305

  尼泊尔马拉王朝早期 十三世纪铜鎏金绿度母像

H 9 in. (23 cm)

估价:

500,000-700,000美元

成交价:

2,310,313美元

来源:

David Tremayne Ltd, London, 1984

Michael Henss Collection, Zurich, since 1984

出版:
Hilary Roberts (ed.), The Great Heritage: Himalayan Art through the Eyes of Art Dealers Chino Roncoroni and Iwona Tenzing, San Francisco, 2020, no.324.



一尊出自尼泊尔马拉王朝早期之十三世纪铜鎏金绿度母像,于3月22日纽约邦瀚斯“印度、喜马拉雅及东南亚艺术”拍卖以2,310,313美元高价成交,超越估价(500,000-700,000美元)四倍,冠绝邦瀚斯本季纽约亚洲艺术周拍卖。此度母身形比例优美而匀称,彰显尼泊艺术崇尚之典雅理想。绿度母救度众生,为佛教造像之重要题材,此造像为现存各个时代及风格中最美丽、精致的典范之一。度母像面带冷金,发施蓝色,表示其曾供奉于西藏。藏家于35多年前得此度母像,此为其入藏以来首度释出市场,非常难得。“印度、喜马拉雅及东南亚艺术”拍卖的金额成交率为99%,十大成交拍品全数超越高估价成交。


邦瀚斯印度、喜马拉雅及东南亚艺术环球主管Edward Wilkinson表示:“铜鎏金绿度母像的成交表现令人欣喜,整场拍卖竞投亦见活跃。芸芸佛教造像当中有如此细致优雅之例,屈指可数。各地藏家也深明此品珍贵之处,踊跃竞投,在100万美元以上区段叫价达十口后方落槌成交。”


Tara is arguably the most popular Buddhist goddess in the Himalayas. In Tibet, she is worshipped by followers of every Buddhist sect, with her various forms found in all classes of Tantra. Her ten-syllable mantra and the short Tantra known as the 'Twenty-One Praises of Tara', spoken by the Buddha Samantabhadra, are memorized and recited by virtually all Tibetans from childhood. As suggested by Pal, she is equally favored in Nepal:

"Undoubtedly, the most popular Buddhist goddess in the Valley is Tara, the female counterpart of the bodhisattva Avalokitesvara. Like him she is a savior deity who protects her devotees from earthly dangers and calamities, such as fires, storms, and attacks from bandits and predatory animals... The Buddhist Tara was ultimately absorbed by the Hindus as a deity of transcendental knowledge known collectively as the Dasamahavidya, further explaining her universal popularity in the valley."
(Pal, Art of Nepal, 1985, p.32.)

The beautiful goddess sits in an open posture of 'royal ease' while tilting her head slightly with a benevolent gaze and warm smile. Above her countenance rests a crown of inset gems and rare pearls. While most representations of the goddess depict her right hand in either the

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