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A RARE AND IMPORTANT BRONZE FIGURE OF LUIPA TIBET, LATE 15TH-EARLY 16TH CENTURY
美国 北京时间
2021年09月22日 开拍 / 2021年09月20日 截止委托
拍品描述 翻译
A RARE AND IMPORTANT BRONZE FIGURE OF LUIPA
TIBET, LATE 15TH-EARLY 16TH CENTURY
8 in. (20.3 cm.) high
Private collection, New York, 1960s. 拍品专文 This finely-cast and important bronze is likely to belong to a larger set of bronzes depicting the Chakrasamvara lineage of the Sakya tradition of the Ngor Ewam monastery. The entire set was once contained within Ngor monastery, but was partially dispersed in the twentieth century. Bronzes from the set are distinguished by the treatment of the jewelry, facial features, and the double-lotus base, as well as the consistent location of dedicatory inscriptions, and the group has been dated by U. von Schroeder in his discussion of the group in Buddhist Sculptures in Tibet, vol. II, Hong Kong, 2001, p. 1206, to the late fifteenth or early sixteenth century. Four other bronzes from the set are held in Western collections: a bronze figure of Vijayapada in the Frey Collection in Zurich, illustrated by R. Linrothe in Holy Madness: Portraits of Tantric Siddhas, New York, 2006, p. 339, cat. no. 70; an image of Shavaripa in the Katimari Collection, illustrated on Himalayan Art Resources (item no. 59531); a bronze figure of Krishnacharya in the collection of the Museum der Kulturen in Basel (acc. no. #W.lld13999.R0089), illustrated on Himalayan Art Resources (item no. 3313999) and by U. von Schroeder in Indo-Tibetan Bronzes, Hong Kong, 1981, pp. 480-481, pl. 134E; and a bronze figure of Jalandhara in the collection of the Rubin Museum of Art (acc. no. C2003.13.4), illustrated as fig. 1. Luipa is the sixth lineage figure from the Ngor Ewam set, and as such would have come directly after the image of Shavaripa from the Katimari Collection. The whereabouts of nine bronzes from the lineage, including the image of Luipa, had previously been unaccounted for until the reappearance of this work to the market. Each of the figures in the set is adorned with a beaded harness that is joined at the center of the torso with a rhomboid shaped fitting, from which hang either three beaded pendants (in the case of the Shavaripa and the Krishnacharya bronzes) or a single beaded pendant (in the case of the Jalandhara and Luipa). The necklace on each figure consists of the eight rectangular bone ornaments of a Heruka deity, joined by a double strand of beads. At the waist, the short dhoti is secured with an elaborate knot, particularly in the standing image of Jalandhara, where it billows down from his waist, but is also elegantly knotted in the images of Shavaripa and the present image of Luipa. Certain characteristics of the face are found across all five images, adding a sense of coherence across the entire group. The mouth is typically held open in a slight smile, the tongue raised as if in speech and the teeth delineated, and in the case of the Jalandhara and Shavaripa, picked out in white polychromy. The heavily-lidded eyes are depicted with an expressive gaze, the pupils incised and the sclera again indicated with white polychromy – remaining in this case on the present work. The images of Luipa, Krishnacharya, Jalandhara and Shavaripa are cast with a short, triangular beard which juts out below the chin, and which is incised with vertical lines delineating the hair. The base of the four figures is composed of two rows of wide lotus petals between beaded rims at top and bottom. In the case of the Luipa, both beaded rims but particularly the top, have been worn to such a degree that they appear plain – however, close inspection reveals they were once indeed beaded. Close inspection of the Luipa also reveals a short inscription at the top of the base in front of Luipa’s proper right foot, as well as a longer inscription running alongside the lower edge of the base. Such inscriptions are typical of the lineage set, and can be in almost identical locations on all of the known bronzes from the set.

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