尺寸：高40.5 cm
年代：14世纪
质地：铜鎏金
风格：西藏或尼泊尔
来源：拍卖会
成交：575,500港元(2025.10)
参阅：外部链接
鉴赏：
A LARGE GILT COPPER ALLOY HEAD OF BUDDHA
NEPAL OR TIBET, 14TH CENTURY
With remains of blue pigment in the hair and an inset turquoise urna.
40.5 cm (26 in.) high
Footnotes

Provenance
Acquired in Hong Kong in 2008

Seventeen years in the Collection of Ulrich von Schroeder

尼泊爾或西藏 十四世紀 銅鎏金佛首

來源
2008年入藏於香港

烏爾里希·馮·施羅德珍藏，十七年

这尊硕大而重要的佛首，原本属于一尊真人等身大小的释迦牟尼佛历史像。双目略微下视，表明它属于坐佛——而在西藏，极少铸造大型立佛，立佛的目光会朝向观者。佛发上施用的蓝色颜料清楚表明，这尊佛首所归属的造像曾在西藏受到供奉。

从风格与卓越的工艺技术来看，这尊佛像极有可能出自尼泊尔的纽瓦尔工匠大师之手。自公元7世纪左右佛教传入西藏起，纽瓦尔工匠便在此地活跃，并对塑造该地区的雕塑传统发挥了关键作用。宽阔的前额、水滴形的白毫、纤长弯曲上扬的眉弓，以及丘比特弓唇，都传达出尼泊尔的相貌特征。这些解剖学特征与同时期的其他佛陀雕塑相通，例如两件售出于纽约邦瀚斯的铜像（2016年3月14日，拍品24号；2020年9月23日，拍品618号），前者即呈现出相似的水滴形白毫和尖突的螺发。本件雕塑那造型精美、近乎尖刺状的螺发，是15世纪以前大型佛像的特征，夏鲁寺所存造像的照片可资佐证（图1；冯·施罗德，《西藏佛教雕塑》卷一，2001年，第516页，图版169B）。亦可比较1999年在夏鲁寺库房内拍摄到的几尊受损的14世纪铜像（Henss，《西藏文化古迹》卷二，2014年，第585页，图830）。

14世纪的西藏，大规模的寺院建造工程蓬勃开展。大型纪念性雕塑被委托安置于这些寺庙之中。由于体量巨大，此类雕塑常分件铸造，再以销钉和铆钉连接，本件佛首颈部下缘的固定点即是例证。同样保存完好、同时期分件铸造的大型尼泊尔鎏金铜像，还见于夏鲁寺内，包括一尊弥勒像（由五部分构成，下唇突出及宽额均体现纽瓦尔手法），以及一尊释迦牟尼佛像（头部与身体分铸而成）（图2；冯·施罗德，《西藏青铜佛像》卷二，2001年，图版230C及图版231D）。

This large and important head was originally attached to a life-size statue of the historical Buddha Shakyamuni. The eyes cast slightly downward indicate it belonged to a seated Buddha. Whereas, a standing Buddha–of which only very few large ones had ever been cast in Tibet–would have its eyes directed towards the onlooker. As indicated by the blue pigment applied to the hair of the Buddha, there can be no doubt that the image to which this head belonged, was worshipped in Tibet.

As indicated by the style and the excellent technical properties, this Buddha image was most likely cast by a Newar master craftsman from Nepal. They were active in Tibet since the introduction of Buddhism there from around the 7th century, and played a crucial role in shaping the region's sculptural tradition. A broad forehead, tear‐drop urna, thinly curved upwardly sweeping eyebrows, and cupid's‐bow lips convey Nepalese physiognomy. The anatomical features are shared by other Buddha sculptures of the period, as exemplified by two bronzes sold at Bonhams, New York, 14 March 2016, lot 24, and 23 September 2020, lot 618, the former displaying similar tear-shaped urna and pointed curls. The present sculpture's exquisitely modelled, almost spikey curls are characteristic of large Buddha images before the 15th century, evinced by images photographed at Shalu monastery (fig. 1; von Schroeder, Buddhist Sculptures in Tibet, Vol. I, 2001 p. 516, pl. 169B). Compare also with several damaged 14th-century bronze statues photographed within Shalu monastery's storage in 1999 (Henss, The Cultural Monuments of Tibet, Vol. II, 2014 p. 585, fig. 830).

The 14th century in Tibet was marked by extensive monastic building programs. Large monumental sculptures were commissioned to be housed within these temples. Due to the scale, these sculptures were often cast in separate parts and joined together with pins and rivets, as exemplified here by the anchor points along the lower rim of the neck. Further intact, contemporaneous, large-scale gilt Nepalese sculptures cast in multiple parts are located within Shalu Monastery. These include a Maitreya made of five parts bearing Newar treatment in the prominent lower lip and broad forehead, and a Buddha Shakyamuni exhibiting a dual cast of head and body (fig. 2; von Schroeder, Buddhist Bronzes in Tibet, Vol. II, 2001, pl. 230C & pl. 231D; respectively).