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The Property of a Lady 女士藏品
Lot 45

A large gilt-bronze figure of a Lama
Tibet, 18th/19th century

Fine Chinese Ceramics and Works of Art
4 June 2015, 10:30 HKT
Hong Kong, Six Pacific Place

Sold for HK$275,000 inc. premium

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A large gilt-bronze figure of a Lama

Tibet, 18th/19th century
Seated in dhyanasana on a lotus base with one hand raised in vitarka mudra and the other placed on his lap, wearing long flowing pleated robes, detailed with incised floral scrolls at the hems, the cold-gilt face with a strict expression.
38.5cm (15 1/8in) high

Footnotes

西藏 十八/十九世紀 銅鎏金喇嘛像

Provenance 來源:
A European private collection

歐洲私人收藏

The Qing emperors and court had a close affinity to Tibetan Buddhism and revered the high lamas of the major sects. An essay written by Emperor Qianlong in the 56th year of his reign (1791) titled, Lama shuo [On Lamaism], discloses the Court's attitude and policy towards Lamaism, see: Wang Baoguang, 'An Analysis of the Relationship between the Qing Emperor's Belief in Tibetan Buddhism and Their Tactics of Running China from the Aspect of Lama Shuo (on Lamaism)', Lightness of Essence: Tibetan Buddhism Relics of the Palace Museum, Macau, 2003, p.370. Wang notes that the religion was important not simply as a venerated belief and faith, but also as a tactic of governance effective in stabilising outer regions such as Mongolia. The proliferation of Tibetan Buddhist figures, including Lamas such as the present lot, during the 18th/19th centuries is a testament to the religion's political and cultural importance.

Compare another Tibetan gilt-bronze figure of a monk from the same set dated to circa 18th century, also uniquely composed of four separately cast parts, sold at Sotheby's London, 10-11 March 1985, lot 138. A related group of three figures including Tsongkhapa with his principal pupils in a shrine, 19th century, also constructed in pieces but made of hammered and chased copper and silver, in the Museum der Kulturen Basel, is illustrated by C.B.Wilpert, ed., Tibet: Buddhas, Gods, Saints, Munich, 2001, pp.36-37, no.9.

While it is difficult to definitively determine the identity of the figure, the upturned eyebrows are an unusual element that is most commonly associated with Padmasambhava. For a related example of the same period in the Alice Kandell Collection, see M.M.Rhie and R.A.F.Thurman, A Shrine for Tibet: The Alice Kandell Collection, New York, 2009, pp.104-105, nos.II-2a and 2b.

瑞士Museum der Kulturen Basel藏一組三件宗喀巴和其弟子像，其鑄造方式可與本像作比較，請參閱C.B.Wilpert，《Tibet: Buddhas, Gods, Saints》，慕尼黑，2001年，頁36至37，編號9。另見一件同樣是以四部分分開鑄造並拼裝的18世紀銅鎏金上師像，後售於倫敦蘇富比，1985年3月10-11日，拍品138。

本喇嘛像身份雖不明確，但其較為少見的上翹眉毛，通常為蓮花生的面部特徵之一，可參考Alice Kandell藏一例，見M.M.Rhie and R.A.F.Thurman，《A Shrine for Tibet: The Alice Kandell Collection》，紐約，2009年，頁104至105，編號II-2a及2b。

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