12 / 137
111*
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PRÄCHTIGE FIGUR DES VAJRADHARA.Tibet, 15. Jh. H 21,5 cm.
Feuervergoldete Kupferlegierung mit reichen Steineinlagen. Der Adhibud-
dha sitzt auf einem doppelten Lotosthron und hält die Hände überkreuzt
vor der Brust, seine Attribute Vajra und Ghanta werden aber von zwei
Lotosblüten neben den Schultern getragen. In den Blättern des Lotos so-
wie in der Spitze der Krone sind die fünf Tathagatas zu sehen, welche er in
sich vereinigt. Der Kopf ist leicht geneigt und zeigt ein entrücktes Gesicht
mit gesenktem Blick und geheimnisvollem Lächeln. Sockelplatte verloren.
A MAGNIFICENT GILT COPPER ALLOY FIGURE OF VA-
JRADHARA SET WITH SEMI-PRECIOUS STONES.
Tibet, 15th
c. Height 21.5 cm. Consecration plate lost.
Among the schools of the New Translations (Tib. gsar ma), Vajradhara
represents the essence of all the Victorious Ones and is considered as
the manifestation assumed by the historical Buddha Shakyamuni for the
transmission of the tantras. He is also regarded as the “sixth Buddha”, the
archetype condensing the five jinas and their families
1
.
From a technical point of view, this piece demonstrates a particular
maestria, with an extreme care for the details. The complete set of jewels
of the sambhogakaya ornaments is represented: the five petals crown, the
earrings, the short necklace, the armlets, the two long necklaces, the bra-
celets, the anklets and the rings. They are set with precious and semi-pre-
cious stones, mostly turquoise, according to the Tibetan taste.
As described by Gega Lama in his Principles of Tibetan Art
2
, the belt
consists of “a girdle of gold encrusted with jewels, with a net of chains of
precious stones hanging down”. The back of the statue is also refined with
the detailed and elaborated hair dress, the crossed beaded strings and the
folding of the upper garment.
The technique of fire-gilding with encrusted semi-precious and precious
stones links this statue to the Newari tradition in Tibet, influence visible
through the general treatment of the jewelry, especially the crown with its
flowing ribbons and kirtimukha pattern on the large central panel. Stylisti-
cally, the double lotus seat and of the dhoti’s folds are inherited from the
Yongle period
3
and places our statue during the 15th century.
Comparable examples can be seen in the Jokhang collection reproduced
by Ulrich von Schroeder
4
as well as in the Asian Art Museum of San
Francisco
5
.
The ritual literature, from which the artistic representations are drawn,
usually describes Vajradhara as follow
6
:
“The incarnation gathering all the buddhas [is] the great Vajradhara. His
skin is blue like pure lapis-lazuli, he has one face and two crossed hands
holding a vajra and a bell. Wrapped in multicolored silks with flowing
ribbons and a skirt, he is adorned with the precious diadem made of jewels,
the earrings, the necklaces, the long string of precious stones and all the
other ornaments.”
Following this account, Vajradhara is shown with his hands crossed in
prajñalingabhinaya mudra
7
but in our case, his attributes are not directly
held in his hands but rest upon lotus flowers.
This peculiar form can be seen on other examples – whether cast or pain-
ted – but almost no source mentions its originality. Usually the presence of
attributes supported by lotus is a common characteristic among bodhisatt-
va representations. Considering the number of existing images of this type,
this form of Vajradhara must correspond to a specific unidentified tradition.
Another particularity of our statue is the tiny representations of what
appears to be the jinas of the five families. They are discreetly placed
among the lotus stalks and on the central panel of Vajradhara’s crown. Ac-
cording to their mudra, we can identify them as Aksobhya on the crown,
Amitabha on the upper part of the lotus to the left of the statue, Vairocana
beneath him, Amoghasiddhi facing him on the other side and Ratnasamb-
hava on the upper right lotus. Strangely, this last jina rests with his legs half
crossed, unlike the four other.
These representations enhance the identity of Vajradhara as the sixth and
ultimate Buddha.
A comparable example of Vajradhara surrounded by the five Buddhas can
be found in Basel’s Kulturen Museum collection
8
, although the main deity
does not hold lotus stalks. The jinas are placed around him on the halo and
mandorle.
1 Cornu, 2001, pp. 97; 207
2 Gega Lama, 1983, p.389
3 Rhie & Thurman, 2000, p. 357
4 Von Schroeder, 2001, pp. 1064–1065, pl. 272F
5 Buddha Vajradhara, 1500-1600, object number B60B165 http://search-
collection.asianart.org/view/objects/asitem/search@/0?t:state:flow=ca23f
acd-1250-4d16-91d0- ebbc2ed8547f
6 Zhwa dmar 04 Chos Grags Ye shes, “Lhag pa’i lha’i mngon rtogs mdor
bsdus rnams” in gSung ‘bum, vol. 5 (nga)
7 De Mallmann, 1986, p. 34
8 Wilpert, 2001, p.60-61
References
- CORNU, Philippe, 2001, Dictionnaire encyclopédique du Bouddhisme,
le Seuil, Paris
- GEGA LAMA, 1983, Principles of Tibetan art: illustrations and expla-
nations of Buddhist iconography and iconometry according to the Karma
Gardri school, Karma Sonam Gyamtso Ling, Antwerp
- de MALLMANN, Marie-Thérèse, 1986, Introduction à l’iconographie
du tântrisme bouddhique, Adrien Maisonneuve, Paris
- RHIE, M. M. & THURMAN, A. F., 1991, Wisdom and Compassion,
the Sacred Art of Tibet, Harry N. Abrams, Inc., New-York
- von SCHROEDER, Ulrich, 2001, Buddhist Sculptures in Tibet, II vols.,
Visual Dharma Publications, Hong Kong
- WILPERT, Clara B. (ed.), 2001, Tibet: Buddhas-Götter-Heilige,
Prestel, München
銅鎏金金剛持坐像。西藏，15世紀，高度21.5釐米，無封底，歐洲舊
藏。
CHF 150 000 / 250 000
EUR 138 890 / 231 480
| 12
Asiatica |
Lamaistische Kunst