佛像网

尺寸：75.6 x 50.9 cm
年代：清代(1578年)
质地：EMBROIDERED SILK
风格：乾隆宫廷
来源：拍卖会
成交：665,000美元(2014.03)
参阅：外部链接
鉴赏：
A RARE FINELY EMBROIDERED SILK THANGKA OF AVALOKITESHVARA SAHASRABHUJA
CHINA, QING DYNASTY, QIANLONG PERIOD (1736-1795)

The thangka is finely embroidered with a central figure of Avalokiteshvara Sahasrabhuja, dressed in elaborate robes and wearing jewelry around the neck and arms, shown with eleven faces and a thousand hands which stretch around the figure in a pointed arch, with an eye stitched in black on the palm of each hand. In the lower register, Jampal Gyatso, the eighth Dalai Lama, is shown holding a white lotus and a teacher is shown seated in the bottom right. Amitabha, Akshobhya, Shakyamuni, Vairochana, Ratnasambhava and Amoghasiddi are seated on clouds in the top register. The figures are set against a landscape of rocks and trees below scrolling clouds worked in gradient shades of pink and beige, which angle to a peak above the eleventh face. The thangka is decorated in vibrant shades of red, pink, blue, beige and green, and worked in long and short satin stitches with details and outlines worked in couched silver and gold threads, all on a silk twill ground.

这幅唐卡刺绣精美，主尊为千臂观世音菩萨，身着华美天衣，颈项与臂腕佩带璎珞庄严，具十一面，千手于身后呈尖拱形展开，每只手掌心均以黑线绣出一眼。下方绣有第八世达赖喇嘛江白嘉措，手持白莲一朵；右下角绣一上师趺坐。阿弥陀佛、阿閦佛、释迦牟尼佛、毗卢遮那佛、宝生佛与不空成就佛各乘祥云，居于唐卡上方。诸像背衬山石林木，上有渐变粉、米色祥云缭绕，流云蜿蜒而上，汇聚于十一面之上方峰顶。整幅唐卡以红、粉、蓝、米、绿等鲜艳色彩装饰，采用长短针缎面绣技法，细部及轮廓以盘金银线勾勒，地纹为丝质斜纹绸。

著录:
Dieux et Demons de l'Himalaya, Grand Palais, Paris, 1977, no. 296.
Tibet: Kunst des Buddhismus, Haus der Kunst, München, 1977, no. 16.
P. Pal, Art of the Himalayas: Treasures from Nepal and Tibet, 1991, New York, no. 116.
P. Pal, “Himalayan Textiles,” Hali 61, February 1992, p. 108.
B. Bryant, The Wheel of Time Sand Mandala, San Francisco, 1992, p. 120.
A. Chayet, Le Grand Atlas de l'Art I, Encyclopedia Universalis, 1993, p. 125.
K.S. Brown, Eternal Presence: Handprints and Footprints in Buddhist Art, Katonah Museum of Art, 2004, p. 15.
Himalayan Art Resources (himalayanart.org) item no. 85116.

展览:
Dieux et Demons de l'Himalaya: Art du Buddhisme lamaique, Grand Palais, Paris, 25 March - 27 June 1977.
Tibet: Kunst des Buddhismus, 1994, shown at the following venues:
Grand Palais, Paris.
Haus der Kunst, München, Germany.
Art of the Himalayas: Treasures from Nepal and Tibet, 1992-1993, shown at the following venues:
Newark Museum, New Jersey.
Portland Art Museum, Oregon.
Phoenix Art Museum, Arizona.
Helen Clay Frick Museum, Arizona.
Virginia Museum of Fine Arts, Richmond.
Bowers Museum, Santa Ana, California.
Tampa Museum of Art, Florida.
National Gallery of Victoria, Sydney, Australia.
Melbourne Museum, Australia.
Australian Museum, Sydney.
Art Gallery of Western Australia, Perth.
Musée Cernuschi, Paris.
Eternal Presence: Handprints and Footprints in Buddhist Art, 2004-2005, shown at the following venues:
Katonah Museum of Art, Katonah, New York.
Rubin Museum of Art, New York.

珍罕精绣丝绸十一面千手观音唐卡

这尊极具震撼力的观音像——藏语称为“见热息”，乃最受尊崇的菩萨，以遍观一切、遍达一切的慈悲之躯，救度众生证入涅槃。十一面之配置可对应于坛城之十一个方位（中心、东、南、西、北四正、四隅、下方及上方），共分五层排列：最下层呈寂静相，其上三层显现忿怒相，最顶为阿弥陀佛。每一面皆为此大悲菩萨一重化现，体现观音以同等威力调柔伏恶之能。一对主臂双手合十，另五臂持念珠、莲花、法轮、弓箭与宝瓶，第八手结施愿印。周身呈大弧形展开千臂，每掌中皆生一眼，象征其无障碍之观照能力。

菩萨立于莲花座上，莲花从山峦环抱的池塘中升起。左侧山丘上坐一黄帽喇嘛，右侧山丘上坐一着僧衣、未戴帽之僧人。上方祥云满布的天际飘悬宝伞。唐卡顶端绘有五方佛及释迦牟尼佛，各乘云台。

此唐卡采用绒绣技法，结合缎面绣、长短针绣，细部及轮廓以现已氧化的银线盘绣勾勒，绣线覆盖整幅唐卡。精准而细腻的针法突显轮廓，微妙地营造出三维立体感。其对细节的刻画与一丝不苟的制作，体现了乾隆时期宫廷刺绣的最高水准，堪称清廷赠予拉萨的珍贵礼物。

存世尚有相同之两幅：其一藏于纽约大都会艺术博物馆（馆藏号30.75.34a,b），断代为1778年；其二藏于维多利亚与阿尔伯特博物馆（馆藏号1479-1902），其中一个鎏金挂环上镌有1783年之纪年。另有一幅年代相近但无纪年之同类作品，曾藏于巴黎Myrna Myers珍藏，其上大威德金刚与金刚起尸母之配饰缀有细小珍珠与珊瑚珠。

John E. Vollmer
纽约，2014年2月

（1）未发表。
（2）Verity Wilson，《Chinese Textiles》（第二版），伦敦：V&A Publications，2005年，图版79；L. Austine Waddell，《The Buddhism of Tibet, or Lamaism》，伦敦：W.H. Allen & Co，1895年，第356-357页，插图第15页。
（3）John E. Vollmer，《Silks for Thrones and Altars: Chinese Costume and Textiles from the Liao through the Qing dynasty》，巴黎：Galerie Myrna Myers，2003年，第126-127页，编号66。

来源:
Zimmerman家族珍藏