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An Imperial parcel-gilt copper-alloy Ghanta and Vajra Cast Yongle six-character mark and of the period (3)
香港 北京时间
2020年12月01日 开拍 / 2020年11月29日 截止委托
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An Imperial parcel-gilt copper-alloy Ghanta and Vajra Cast Yongle six-character mark and of the periodThe gilt handle of the bell finely cast with the head of Buddha wearing an eight-foliate crown, supporting a band of lotus petals and surmounted by a quintuple vajra-shaped finial, the cylindrical handle attached to the domed-shaped bell decorated with radiating lotus petals, above a band of horizontal vajra symbols within beaded borders repeated above the splayed foot in vertical form, the interior of the bell cast with the Imperial reign mark; the vajra constructed the same, with nine prongs issuing from makara heads, the central knop flanked by lotus friezes, fitted box. Ghanta, 22cm (8 3/4in) high; Vajra, 17.5cm (6 3/4in) long (3). 注脚 明永樂 局部鎏金金剛鈴及銅鎏金金剛杵一組「大明永樂年施」六字楷書鑄款Provenance:A European private collection, acquired in the 1980s, by reputeThe Rossi Family collection, London, by reputeAn important private Asian collection來源:傳歐洲私人收藏,蒐集與1980年代傳倫敦羅西家族收藏重要亞洲私人收藏The ritual bell, sometimes known as a 'Diamond Bell' or Ghanta, serves as a ritual instrument in Tibetan Buddhism. The bell symbolises Wisdom and Truth in the void and emptiness, with its short ring representing the fleeting nature of that sonorous truth. Originally a weapon carried by ancient Indian gods, the vajra sceptre was adopted into Buddhism and referred to within the name of Shakyamuni's seat of enlightenment (vajrasana), hence a symbol of the immutable quality of the spiritual truth that Shakyamuni unveiled. A five-pronged vajra such as the present lot also represents the Five Wisdoms of the Five Cosmic Buddhas, namely Tathatā-j?āna,ādar?a-j?āna, Samatā-j?āna, Pratyavek?a?a-j?āna, K?ty-anu??hāna-j?āna.These Buddhist ritual instruments were brought from India to China as early as the Tang dynasty, as stated by E.H.Schafer, The Golden Peaches of Samarkand: A Study of T'ang Exotics, Beijing, 1995, p.582. During the Ming dynasty, Zhu Di (1360-1424), who ruled as the Yongle emperor, was introduced to Tibetan Buddhism and initiated into its practices around 1380, when he was enfeoffed as a King in Beijing. After usurping the throne from his nephew the Jianwen emperor, he sought to bolster his legitimacy through numerous channels. He saw himself as a universal ruler to rival former Mongol claims to power across the Eurasian continent and sponsored numerous religions including Tibetan Buddhism, which still had strong ties to the Mongol military elite. The Yongle emperor welcomed Tibetan guests with great ceremony and gifts, and invited the fifth Gyalwa Kamapa of the Kagyu school of Tibetan Buddhism to visit the capital as early as 1403. The demand, therefore, for works and ritual objects, such as the present lot, increased at the beginning of the 15th century. Four sets of gilt copper-alloy ghanta and vajra were recorded as Imperial gifts from the Yongle emperor to the fifth Gyalwa Kamapa in 1408, see yuan yilai Xizang defang yu Zhongyang zhengfu guanxi dangan shiliao huipian, (Collection of Archives on Relationships between Tibetan region and Central Government from the Yuan Dynasty), Beijing, 1993, vol.1, pp.105-106.Only three sets of Yongle mark and period ghanta and vajra appear to have been published. The first set is in the Potala Palace, illustrated by Wu Mingdi, 'Ming Qing zangchuan fojiao faqi lingchu yu hanzang yishu jiaoliu' (Artistic influences of Buddhist ritual objects between Tibet and China), Studies in World Religions, 2001, issue 6, pp.46-52; the second is in the Tibet Museum, illustrated by Jia Yang and Wang Mingxing, Precious Deposits: Historical Relics of Tibet, China , Beijing, 2000, vol.3, fig.83; the third set is in the Qing Court Collection, Palace Museum, Beijing, illustrated in Cultural Relics of Tibetan Buddhism Collected in the Qing Palace, Beijing, 1998, p.207, no.107.Compare also with a similar gilt copper-alloy ghanta and vajra, 15th century, which previously belonged to the second Dalai Lama, now in the National Palace Museum, Taipei, illustrated in Tibetan Buddhist Art in the National Palace Museum, Taipei, 2016, p.226, fig.V-58. Another related example, attributed to the Xuande period from the Palace Museum, Beijing, is illustrated in ibid., Beijing, 1998, p.208, fig.102.金剛鈴杵常成對使用,為藏傳佛教重要法器。鈴的上半部分表示佛身,下半部分象徵佛語,鈴舌寓意金剛其心,鈴内空腔象徵萬法皆空,鈴聲則宣示空性(emptiness)。杵本為古印度兵器,演變成法器後,杵身縮短,刃尖變得圓潤,象徵堅固鋒利的智慧,祛除魔障,又稱降魔杵。五股分別象徵大圓鏡智、平等性智、觀妙察智、成所作智及法界體性智。金剛鈴握柄銅鎏金,由八瓣蓮辦與中央直桿組成五股杵,下接寶冠菩薩法容,鈴身合金質,頂部鑄陽紋覆蓮,蓮辦内鑄梵字八字真言,其下飾連珠紋兩匝,其内鑄金剛杵一周,連珠紋之下鑄法輪一周,鈴緣鑄連珠紋兩匝,其間鑄垂直金剛杵一周,内壁一側鑄陽文「大明永樂年施」六字楷書,另一側鑄梵字三字。金剛杵兩端各五股,每股摩羯吐珠,其下八瓣仰蓮辦,中間寶珠形,通體鎏金。早在唐代便有文獻記載印度來華的「密宗大師不空留給唐代宗(762-779年在位)五股金剛鈴杵、銀盤子、菩提子、水晶數珠。」見謝弗E. H. Schafer著,《唐朝的外來文明The Golden Peaches of Samarkand: A Study of T'ang Exotics》,北京,1995年,頁582。明代以來,北京政權和西藏的聯繫更加緊密,明初靖難之變後,燕王朱棣(1360-1424)起兵反叛侄兒建文帝朱允炆,戰爭三年後登上帝位,是為永樂皇帝。永樂皇帝為鞏固政權,加強邊疆管理,在藏區建立官僧制度,封噶瑪噶舉派的第五世噶瑪巴活佛為「大法寶王」。北京宮廷内更設有專門的作坊製作法像和法器,用於賞賜大寶、大乘、大慈三位法王,其中便有金剛鈴杵。永樂六年(1408年),永樂帝賞賜大寶法王的清單記載:「鍍金銅鈴杵九副,每副四件,鍍用金四錢,共三兩六錢,計三十六錢,黑斜皮骰全」,見《元以來西藏地方與中央政府關係檔案史料彙編》,北京,1993年,第一冊,頁105-106。「大明永樂年施」款的鈴杵現存三副,分別藏於布達拉宮、北京故宮博物院和西藏博物館, 見吳明娣著,《明清藏傳佛教法器鈴杵與漢藏藝術交流》,載於《世界宗教研究》,2011年,第六期,頁46-52。西藏博物館所藏永樂款鈴杵為九股,見甲央及王明星編,《寶藏—中國西藏歷史文物》,北京,2000年,第三冊,圖83,北京故宮博物院一例,見《清宮藏傳佛教文物》,北京,1998年,圖版101,頁207。還可比較一件十五世紀西藏製金剛鈴杵,為二世達賴喇嘛舊物,形制裝飾極似,藏於台北故宮博物院,見《院藏藏傳佛教文物》,台北,2016年,圖版V-58,頁226。宣德時期所製金剛鈴杵亦延續了永樂的形制,可以比較之,參考一件北京故宮藏明宣德款鈴,見同著錄,北京,1998年,圖版102,頁208。

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