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A VERY RARE AND IMPORTANT IMPERIAL WHITE JADE LANÇA BOWL, MARK AND PERIOD OF QIANLONG 清乾隆 白玉‘十相自在’梵文咒语盌 China, Qianlong period (1736-1795) Carved from an opaque, lustrous white jade, the bowl features deep, rounded sides ascending to a subtl
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拍品描述 翻译
A VERY RARE AND IMPORTANT IMPERIAL WHITE JADE LAN?A BOWL, MARK AND PERIOD OF QIANLONG 清乾隆 白玉‘十相自在’梵文咒语盌 China, Qianlong period (1736-1795) Carved from an opaque, lustrous white jade, the bowl features deep, rounded sides ascending to a subtly flared rim. While the exterior is left elegantly undecorated to highlight the smooth, buttery texture of the stone, the interior is meticulously incised with a circumferential band of Tibetan mantras. The center is anchored by a finely rendered 'Tenfold Powerful One' (Namchu Wangden) monogram—the quintessential Kalachakra motif composed of seven interlocking Sanskrit syllables and three symbolic graphic elements. The base is inscribed with a four-character reign mark of Qianlong. Accompanied by a Japanese fitted wooden box. D.13.1cm Provenance: Private Japanese collection, (attributed) acquired from Sakamoto Gorō (Fugendō), as indicated by the red “Fugen” seal on the interior of the box lid. 来源:日本私人收藏,(传)购于坂本五郎(不言堂),木盒盖内含红色“不言”印章。 Note 藏文与十相自在纹饰是明清王朝管控蒙藏、融合汉藏文化的重要物质载体,结合了皇权政治、宫廷信仰与民族治理,其中乾隆时期将这类藏传宗教器物发展至历史顶峰。明代为藏文宫廷器物的奠基阶段,朝廷推行“多封众建”治藏政策,以御制器物赏赐藏地宗教首领,维系中央隶属关系;永乐朝官窑始烧藏文器物,多刻六字真言、吉祥咒文,宣德朝工艺达到明代顶峰。 清代承袭明代藏传器物体系并不断完善,康熙复刻明代藏文瓷碗,专供内廷佛堂供奉;雍正新增粉彩、单色釉材质,宗教属性持续强化;乾隆时期进入全盛阶段。乾隆本人笃信藏传佛教,拜三世章嘉为国师,修习密宗,自认文殊菩萨化身,将个人信仰与国家治理结合,借格鲁派安定蒙藏边疆。确立了皇权高于教权、垄断宫廷宗教器物烧制,严禁民间仿制,牢牢把控宗教礼制话语权。 明清藏文宫廷器物材质丰富,主流分为瓷器、金属器、玉器三类。瓷器存世量最大,金属器包含鎏金、纯金、掐丝珐琅,多用于高端法器,另有木质、牙角等小众材质。玉器以和田白玉为尊,十分稀有。故宫藏乾隆白玉藏文碗(编号故00011580, 见图8)为典型代表,与此白玉刻藏文咒语盌在纹饰、器型、用途近似。 十相自在是乾隆朝核心密宗纹饰,源自时轮金刚教义,为其时轮金刚核心心咒纹饰,由七个梵文字母搭配日、月、宝瓶三种图形组合而成,表征时轮金刚本愿,寓意寿命、心性、誓愿、业力、受生、解脱、神力、资具、佛法、智慧十大自在功德,具备镇宅安宅、护持国土、消弭灾厄、圆满祈福的深层宗教内涵,也是藏传佛教体系中等级最高、最为尊贵的经典吉祥纹饰;该纹饰在明代极少使用,至乾隆时期开始大规模御用,且常与藏文搭配装饰,其中典型代表器物为金奔巴瓶,器身錾刻十相自在纹样与藏文,专门用于西藏活佛金瓶掣签制度,是清代中央掌控藏地宗教权力、宣示国家主权的重要物证,除此之外宫廷亦存有十相自在玉牌、珐琅供盘等同类宫廷宗教法器。 The Lan?a characters, represents a sacred bridge between the ancient Sanskrit traditions of India and the sophisticated religious culture of the Ming and Qing imperial courts. Developed in Nepal around the 11th century, this highly decorative Brahmic writing system was reserved for the most prestigious liturgical purposes, such as transcribing the titles of sutras and consecrating ritual implements. Unlike standard Tibetan script used for administration, Lan?a characters possess bold, symmetrical, and ornate forms that often harmonize with floral motifs like stylized lotus petals. The history of Tibetan script on palace vessels serves as a vital material record of the dynasties' governance over the Mongol and Tibetan regions. The Ming Dynasty established the foundation through a policy of multiple enfeoffments, using imperial wares as diplomatic gifts to Tibetan religious leaders to maintain central authority. This tradition reached its artistic and political zenith during the Qianlong Period of the Qing Dynasty. Emperor Qianlong, a devout practitioner of Tibetan Buddhism and self-proclaimed manifestation of Manjushri, integrated his personal faith with statecraft. A quintessential example of this period is the White Jade Tibetan Inscribed Bowl in the Palace Museum (No. Gu 00011580, see image 8), which shares striking similarities with the present white jade bowl in terms of its refined silhouette, the precise execution of the Tibetan incised mantras, and its original ritualistic function. By monopolizing the production of these sacred objects—such as the White Jade Tibetan Inscribed Bowl (Palace Museum No. Gu 00011580) and the Golden Urn used for the reincarnation lot-drawing ceremony—the Qing court asserted that imperial power stood above religious authority. Ultimately, whether crafted from prestigious Hetian white jade, gilt-metal, or fine porcelain, these Tibetan-inscribed vessels were more than artistic masterpieces; they were instruments of cultural fusion and political sovereignty. Identifying these scripts and motifs today is a definitive indicator of an object’s provenance as a high-level imperial commission, originally destined for the Buddhist chapels of the Forbidden City or as significant diplomatic offerings.
Condition:natural inclusions

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