佛像鉴定鉴赏收藏

尺寸：高38cm
年代：15世纪
质地：红铜鎏金(嵌银、松石、珊瑚、碧玺)
风格：西藏中部 索南坚赞
来源：私藏
参阅：外部链接
鉴赏：
古比特佛像网, 编号: 文殊菩萨151

文殊菩萨或称“文殊室利”“曼殊室利”等，是十方诸佛菩萨的智慧总集，又被称之为“诸佛之父”。在西藏，吐蕃三法王之一的赤松德赞（742-797年）、萨迦班智达（1182-1251年）、宗喀巴大师（1357-1419年）和隆钦巴（1308-1364年）都是文殊菩萨的化身。另外，西藏高僧还将清朝皇帝视为文殊菩萨在世间的转轮圣王化现。

菩萨面如童子，双手当胸结说法印并牵青莲花枝（莲枝残断），莲枝贴双臂向上伸延，青莲花开敷于两肩侧，花瓣细长。其上右侧竖智慧剑，左侧横置梵筴，全跏趺坐于莲花座上。头戴五叶冠，冠叶正中叶宽大，花蕊嵌绿松石。缯带紧贴耳后上扬，戴花朵形大耳珰。身戴项饰、璎珞、臂钏、腕钏、足镯等，皆以细密联珠纹表现，并嵌有精致小巧的绿松石、珊瑚和碧玺等宝石。臂钏、腕钏、腰部、裙下摆联珠纹中间嵌一圈银质圆环，愈显华贵的气质。上身袒露，着披肩，其上錾刻缠枝纹。下身着裙，不见衣纹，薄衣贴体。裙中部阴刻缠枝、菱形格、花团等各种图案，线条细腻。莲座略扁平，上沿饰小联珠纹，莲瓣瓣尖翻出卷云纹，座面平滑光亮。造像整体气质雍容华贵，生动表现了文殊菩萨智慧的品格，雕刻家高超的艺术水平，具有很强的感染力。风格上在吸收尼泊尔艺术元素之外，还融入本土及汉地的审美情趣，是15世纪西藏造像的表现形式。

圣妙吉祥文殊菩萨出自于白文殊本续和文殊师利根本续的传统。我们可以将这尊像与另一尊有题记的、风格相同的造像进行对比，推断出本尊造像应属于索南坚赞或是其作坊的艺术家的作品。

关于文殊菩萨图像学的表现有许多种传统。菩萨形象的表现有两种主要的图像风格。第一种是艺术家有充分的自由与想像空间来表现人物的动作或神态。此种类型是基于大乘佛教经典的描绘和叙述，人物形象往往更为活泼而有张力。第二种形像的类型是基于金刚乘密续文献的描绘，艺术家非常受限于某种来源文献的规定，完全按照文本中的叙述来表现人物形象，通常是静止的姿态和外表。最早、最常见的文殊形象的描绘发现于白文殊和文殊师利根本续的密续文献中。

文殊菩萨在这里为一面双臂，其双手于胸前交叉结说法印，执两枝邬芭拉花茎，两朵邬芭拉花盛开于两肩侧，其上分别乘载着文殊菩萨的象征物：左侧为竖置的智慧之剑，右侧为般若波罗蜜多经。菩萨双腿交叉呈现跏趺坐姿，坐于双层莲座之上。整尊造像表面鎏金，并且装饰以绿松石等小宝石。

这尊造像上并没有发现任何铭文，因此年代和身份的判定完全依赖于与其它类似造像的对比。其中一尊可以与本作品相比对的为一带有冗长铭文的十一面观音菩萨造像。由这两尊造像所显现出的相同风格表现与造像品质，我们可以推断本尊文殊菩萨造像与该带有铭文的观音菩萨造像属于同一年代。

该尊观音菩萨造像莲座上的铭文以藏文乌坚体刻写，有点不同寻常。在铭文中题记了一位著名的萨迦派上师熏奴嘉秋、两兄弟诺布桑波和贝桑，以及艺术家索南坚赞，后者创作了该尊造像。

诺布桑波 (1403-1466)，也被称为仁蚌巴，是西藏仁蚌王朝的第三位也是最有权势的统治者，其在1435年至1466年期间统治西藏的卫藏与后藏地区。该王朝的统治一直持续到1565年。仁蚌巴有位兄弟叫做贝桑，他们皆为当时著名的萨迦派上师熏奴嘉秋（生于14世纪）的学生。熏奴嘉秋以宗喀巴大师洛桑扎巴（1357-1419）的嫡系弟子而著名。

大约1430年时，仁蚌巴与熏奴嘉秋在后藏地区建立了一座叫做绛钦曲德寺的寺院。这座寺院由译师纳·仁钦开光，原属于萨迦派，此后几经毁损而由五世达赖喇嘛罗桑嘉错（1617-1682）进行了修复，并重新命名为强巴林寺。根据一些文献的记载，该寺院在1367年初建时仅为一小型的隐世修道所，尔后在1650年改宗为格鲁派寺院。如果该份文献所提供的信息正确的话，则该寺院有可能是先期建好，后来由仁蚌巴和他的老师熏奴嘉秋进行了修复和扩建。事实上，关于这座寺院有几种不同的文献材料，里面记载的日期和信息也各不相同，因此考证该寺的确切历史始终是件难题。

目前至少有25尊有着同样或相似风格的造像存于世界各地的博物馆和私人收藏手中，他们很有可能是由同一位艺术家索南坚赞所作，或是由与他相关的作坊和他的继承人所作。

【仁蚌王朝統治者名錄：南喀嘉森 (Namkha Gyaltsen, ??-??) - 南喀嘉波(Namkha Gyalpo, ??-??) – 諾布讚波 (Norbu Zangpo, 1435-1466在位) – 東佑多傑 (Donyo Dorje, 1479-1512在位) – 嘉旺吉美卓巴 (??-1565/1595)】

文/杰夫˙瓦特

Arya Manjushri, the Gentle Voiced Noble One, from the tradition of the Siddhaikavira and the Manjushri Mulakalpa Tantras. Base on an inscription from another sculpture, in the same style, the artist was Sonam Gyaltsen or an artist of the atelier (circa 1430).

There are many traditions for depicting the iconography of Manjushri and there are two main distinct iconographic styles for depicting the bodhisattva figures.The first is dynamic depiction where the artist has a tremendous amount of freedom in body movement and expression. This type of appearance is based on the descriptions and narratives of the Mahayana Sutras. The second type of appearance is based on the Tantra literature of Vajrayana Buddhism. The artistis very much restricted to portraying the figures in very static postures and expression as dictated by the very technical source literature. The earliest and most common descriptions of the forms of Manjushri are found in the literature of the Siddhaikavira and Manjushri Mulakalpa Tantras.

This figure of Manjushri has one face and two arms. The hands are crossed at the heart in a teaching gesture while holding the stems of two utpala flowers blossoming on the right and left sides. The pair of flowers support an upright sword of wisdom on the proper right side and a text of the Prajnaparamita sutra on the left side. Seated upright he has the two legs crossed one over the other in vajra posture atop a double lotus seat. The surface of the sculpture is adorned with mercuric gild and decorated with small stones such as turquoise.

There are no inscriptions of any kind to be found on the work. The identification of the date and possible identification of the artist are entirely based on comparison with other similar sculpture, and one in particular, an Eleven Faced Avalokiteshvara, which has a lengthy inscription. Based on the two sculptures being of the same style and comparable quality the date can be tentatively given as roughly the same as the inscribed Lokeshvara.

For the Lokeshvara the inscription is written in Tibetan U-chen script located on the lotus base which is somewhat unusual. It names a famous Sakya teacher, Zhonnu Gyalchog, two brothers, Norbu Zangpo and Palzang, one more famous than the other, and the artist, Sonam Gyaltshen, that created the sculpture.

Norbu Zangpo (1403-1466), also known as Rinpungpa, was the third and most powerful ruler of the Rinpung dynasty of Tibet from 1435 until 1466. The dynasty lasted until 1565. Rinpungpa had a brother named Palzang and both were students of the famous Sakya teacher Zhonnu Gyalchog (birth 14th century [P1943]). This teacher was also known to be a direct student of Je Tsongkapa Lobzang Dragpa (1357-1419).

Rinpungpa and Zhonnu Gyalchog founded a monastery called Jamchen Chode in Tsang Province (approximately 1430). The monastery was consecrated by Lotsawa Nag Rinchen. The monastery, Sakya by tradition, later fell into disrepair and was renovated and restored by the 5th Dalai Lama, Lobzang Gyatso (1617-1682) and renamed Jampa Ling. According to some sources the monastery was originally a small hermitage founded in 1367 and later converted to the Gelug tradition in 1650. If this information is accurate then it is possible that the monastery, previously built, was restored or enlarged upon by Rinpungpa and his teacher Zhonnu Gyalchog. The exact history is difficult to untangle as there are several different textual sources with varying dates and information.

At least twenty-five sculptures in the same or similar style are known to exist in museum and private collections around the world likely created by the same artist, Sonam Gyaltsen, or by his associated atelier and immediate descendants.

(JW)

【Rinpung Rulers: - Namkha Gyaltsen (dates?) -Namkha Gyalpo (dates?) - Norbu Zangpo (ruled from 1435-1466) - Donyo Dorje(ruled from 1479-1512) - Ngagwang Jigme Dragpa (ruled from date? - 1565/1595)

TibetanText: ༄༄།སྭསྟི།སྤྱན་རས་གཟིགས་དབང་དངོས་གྲུབ་འབྱུང་གནས་འདི།རྒྱལ་སྲས་གཞོན་ནུ་རྒྱལ་མཆོག་བཀས་བསྐུལ་ནས།མི་དབང་ནོར་བཟང་དཔལ་བཟང་སྐུ་མཆེད་ཀྱིས།ལྷག་བསམ་དག་པས་འཕགས་སྡེའི་མཆོད་གནས་བཞེངས།བསོད་ནམས་རྒྱལ་མཚན་ལག་པས་རྩེ་ལས་འཁྲུངས།དགེ་བས་འགྲོ་ཀུན་ཀུན་མཁྱེན་མྱུར་ཐོབ་ཤོག།

English Text: “This source of the attainments of Lord Avalokiteshvara, requested by the bodhisattva Zhonnu Gyalchog, [fulfilled] by the ruling brothers Norzang and Palzang, with pure motivation to build a place of worship for noble beings, [then, this sculpture was made] by the hands of Sonam Gyaltsen: May the accumulation of merit lead all beings to quickly attain the omniscient stage.”

Bibliography: The Jamchen Avalokiteshvara by Sonam. Written in collaboration with Jeff Watt, February 2018 (Bonhams March Catalogue, New York).】