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A COPPER ALLOY FIGURE OF SPAR SAṄS PO ’BUM KHYI (SAMPO BUMTRI) 西藏西部 十五世纪铜铸斯巴桑波奔赤造像 Western Tibet, 15th century H.19.9cm Finely cast in copper alloy, the figure represents Spar Saṅs po ’Bum Khyi (Sampo Bumtri), the primordial creator d
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拍品描述 翻译
A COPPER ALLOY FIGURE OF SPAR SA?S PO ’BUM KHYI (SAMPO BUMTRI) 西藏西部 十五世纪铜铸斯巴桑波奔赤造像 Western Tibet, 15th century H.19.9cm Finely cast in copper alloy, the figure represents Spar Sa?s po ’Bum Khyi (Sampo Bumtri), the primordial creator deity of the Bon religion and one of the “Four Primordial Lords,” revered as the originator of the cosmos and humankind. The surface bears a warm, mellow patina, the metal of deep and subdued tone characteristic of early Western Tibetan sculpture, combining ritual significance with an archaic aesthetic. The deity is shown seated in full vajrāsana upon a double-lotus base set above a tiered square pedestal of sumeru type. The lotus petals are rendered in flat, incised outline, simple yet decorative in effect. The figure has one face and two arms, and wears a five-leaf crown chased with floral motifs, centered by a baoxianghua medallion. The hair is neatly gathered beneath the crown, with finely incised strands and long ribbons falling to the shoulders. The face is full and rounded, with a broad forehead, gently arched brows, downcast eyes, and a subtle smile conveying a serene and compassionate expression, consistent with the youthful ideal described in Bon texts. The upper body is bare, adorned with beaded jewellery and foliate ornaments crisply defined, while the lower body is clad in a long garment, its folds lightly incised and closely following the contours of the body, emphasizing the sculpture’s restrained and archaic character. Both hands grasp slender lotus stems held between the fingers, rising gracefully along the arms to form a symmetrical composition, a distinctive feature of Bon iconography that emphasizes clarity of line and formal balance. The base is sealed with an original fitted copper plate, incised on the interior with pointed lotus motifs. The exterior of the tiered pedestal is engraved with auspicious designs, including archaic phoenix and scrolling foliage, and further inscribed with a Tibetan Uchen script dedicatory or benedictory inscription, attesting to its ritual function and Bon religious context. The figure is robustly modelled, with sharply defined linear details and refined metal quality. The combination of base form, inscription, and stylistic features firmly situates the work within the tradition of 15th-century Western Tibetan Bon sculpture. As such, it represents an important early artistic formulation that laid the foundation for later Himalayan Buddhist sculptural traditions. Provenance: Sotheby's New York, 22 March 1989, lot 298. Published: Himalayan Art Resources (himalayanart.org), item no. 12646. 此尊为十五世纪西藏西部苯教铜造像,主尊为苯教创世始祖神斯巴桑波奔赤(Sampo Bumtri),为苯教“最初四尊”之一,被尊为宇宙与人类的创造者。造像通体铜质精炼,包浆温润沉穆,呈现出藏西早期造像特有的古朴气息,兼具宗教仪轨性与艺术性。 主尊结全跏趺端坐于双层莲台之上,下承台基形须弥座。莲瓣以平面阴刻方式表现,造型简练而富装饰意味。造像一面二臂,头戴五叶宝冠,冠叶饰花卉纹,中央为宝相花纹。束发整齐,发丝刻画细密,两侧宝缯自然垂落。面相方圆饱满,额部宽广,弯眉细长,双目微合下视,唇角含笑,神情宁静慈悲,符合苯教经典中“如十六岁童子般庄严”的理想形象。上身袒露,佩戴连珠璎珞及卷草纹饰,刻画细致;下身着长裙,衣纹浅刻贴体,整体风格古拙凝练。双手各执莲花细长茎柄,自掌中生出,沿臂上举,形成对称式构图,为典型苯教造像特征,线条简劲而富节奏感。造像底部为原封底结构,底内錾刻尖头莲花纹饰。须弥式台座分层明显,外壁刻有凤鸟与卷草纹等装饰,并錾刻藏文乌金体(Uchen)祈福题记,明确反映其宗教供奉与仪轨属性。 整体造像体量沉稳,线条刚劲,铜质精良,台座形制、题记及风格特征均指向十五世纪藏西苯教造像体系。其艺术语言不仅代表苯教造像的重要阶段,同时为后世喜马拉雅佛教造像的发展奠定了坚实基础。 著录:Himalayan Art Resources(himalayanart.org),编号 12646。 Provenance: Former Argentine collection; acquired in Europe by the family. Note Bon is the oldest indigenous religion of the Tibetan Plateau, originating in the Zhangzhung civilization more than three millennia ago. In its early phase, it took the form of animistic and nature-based worship, and was systematized in the 5th century BCE by Tonpa Shenrab Miwo into the fully developed Yungdrung Bon tradition. Within this system, the primordial creator deity Spar Sa?s po ’Bum Khyi (Sampo Bumtri) is revered as one of the “Four Primordial Lords,” embodying the origin of the cosmos and the ordering principle of the universe. Prior to the introduction of Buddhism into Tibet in the 7th century, Bon functioned as the state religion of the Tibetan Empire, exerting authority over rituals, divination, funerary practices, and politico-religious discourse. During the reign of Songtsen Gampo, Buddhism entered Tibet from India and China, and was actively promoted by the royal court as a means of reducing the political power of Bon priestly elites and consolidating central authority. Under King Trisong Detsen, following the famous debates at Samye Monastery, Buddhism was established as the orthodox state religion. Although Bon experienced a brief revival during the anti-Buddhist persecutions of Langdarma, it ultimately lost its dominant position with the resurgence of Buddhism in the 11th century “Later Diffusion,” thereafter entering a prolonged period of interaction and syncretism with Buddhism. A critical transformation took place in the 15th century, when Nyamme Sherab Gyaltsen (1356–1415) founded Menri Monastery in 1405 and initiated a series of reforms. These included the codification of monastic discipline, the establishment of institutional structures, the systematization of canonical texts, and the integration of Buddhist elements, leading to the formation of the reformed Yungdrung Bon tradition. This transformation allowed Bon to survive in a more formalized and Buddhicized form. Concurrently, the Gelug school of Tibetan Buddhism, founded by Tsongkhapa in the early 15th century, rose rapidly to prominence through its strict monastic discipline and institutional organization, further consolidating the dominance of Buddhism in Tibet. From this point onward, Bon became increasingly marginalized, persisting primarily in local communities and peripheral regions, while Tibetan religious culture assumed a stable configuration characterized by Buddhist predominance alongside a continued, though subsidiary, Bon presence. This copper figure of the primordial deity dates precisely to this pivotal period of transformation. As such, it constitutes an exceptionally rare and significant material witness to the historical development of Bon and its interaction with the broader Himalayan religious and artistic traditions. 苯教为青藏高原最古老的本土原生宗教,起源于距今三千余年的象雄文明。其早期形态以万物有灵与自然崇拜为核心,并于公元前5世纪由敦巴辛饶弥沃整合规范,形成体系完备的雍仲苯教。其创世始祖神**斯巴桑波奔赤(Sampo Bumtri)**位列苯教“最初四尊”,被奉为开天辟地、创生万物并维系宇宙秩序的本源主宰,具有至高的宗教地位。 在公元7世纪佛教传入吐蕃之前,苯教长期作为国家宗教广泛盛行,全面主导祭祀、占卜、丧葬等社会核心仪式,并在政教体系中占据重要地位。松赞干布时期,佛教自印度及中原传入,吐蕃王室为削弱苯教巫师集团的既有权力、强化中央集权,逐步推行崇佛抑苯的政策。至赤松德赞时期,经桑耶寺“佛苯辩论”确立佛教正统地位。其后虽在朗达玛灭佛期间苯教一度复兴,但自11世纪佛教“后弘期”兴起之后,苯教逐渐失去政治与宗教主导权,转而与佛教形成长期交融关系。 至15世纪,苯教进入关键转型阶段。年麦·西饶坚赞(1356–1415)于1405年创建曼日寺,推行系统改革,包括整顿戒律、确立寺院制度、整理经典体系,并广泛吸收佛教思想与形式,由此形成制度化、经典化的“新派雍仲苯教”,使其得以在佛教主导的环境中持续传承。同一时期,宗喀巴创立格鲁派(黄教),通过严整戒律与完备的寺院教育体系迅速崛起,进一步巩固藏传佛教的主导地位。 自此,苯教逐渐边缘化,主要在民间及边远地区延续传承,最终形成以佛教为主体、苯教为辅的藏地宗教文化格局。本件始祖神铜造像正产生于这一历史转折时期,不仅见证了苯教由独立主导走向融合转型的关键阶段,更体现出其对后世喜马拉雅佛教造像艺术的重要奠基作用,因而尤为珍贵且具有重要学术意义。
Condition:The figure exhibits a characteristically archaic and robust casting style. It shows a deep, well-developed aged patina with significant signs of ritual wear and historical handling. The base is unevenly cast, showing irregular thickness and manual tool marks along the bottom edges. Notably, there are two visible apertures (holes): one located on the left leg and another on the pedestal nearby

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