拍品描述:西藏 十五世纪 铜鎏金嵌宝佛塔 Himalayan Art Resources item no. 68461 HAR编号68461 For further information on the condition of this lot please contact Alexandra.Farahnik@sothebys.com David Weldon and Jane Casey Singer, The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam Collection, London, 1999, pl. 26. Karl Debreczeny, 'Wutai Shan: Pilgrimage to Five-Peak Mountain', Journal of the International Association of Tibetan Studies, issue 6 , 2011, cat. no. 7. Ashmolean Museum, Oxford, 1996–2005 (on loan). The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam Collection, Ashmolean Museum, Oxford, 1999. Arte Buddhista Tibetana: Dei e Demoni dell' Himalaya, Palazzo Bricherasio, Turin, 2004, cat. no. IV. 48. Rubin Museum of Art, New York, 2005-2018 (on loan). Wutaishan: Pilgrimage to Five Peak Mountain, Rubin Museum of Art, New York, 2007. Casting the Divine: Sculptures of the Nyingjei Lam Collection, Rubin Museum of Art, New York, 2012–13. The Nyingjei Lam stūpa (T. chörten) is of a type said to correspond to a monument erected at Varanasi, which celebrated the Buddha’s first sermon at the Deer Park. The tiers at the center of this four-sided gilt-copper example contain multiple doorways and are faced with two-storied projecting arches on each side, all supported on a tall tapering platform resting on a lotus petal base. The dome (anda) is decorated with jeweled swags inset with gems. The parapet (harmika) above supports a spire of thirteen discs (chattra) surmounted by a gem-set canopy. The form of the stūpa corresponds to the model known as tashi gomang, ‘auspicious [chörten] with many doors’. According to traditional accounts, all Tibetan chörten are derived from the eight types of Indian stupa built to commemorate the eight great events in the life of the Buddha. The architectural details of the stūpa represent metaphysical principles of the Buddhist faith, symbolizing in particular the Buddha’s enlightened mind. Perhaps the most famous Tibetan monuments in this complex multi-door format are the Kumbum of Gyantse, built around 1442 and the monument at Riwoche completed in 1456. A similar fifteenth century date may be attributed to this rare gilded copper example from the Nyingjei Lam Collection. 佛塔（藏语称「曲登」）形制演变自印度坟冢，初为安置佛祖真身舍利而造。印度佛塔原分八类，纪念佛祖生平八大事迹，据西藏文献记载，各式曲登无不溯源于此。慈悲道所藏曲登承袭瓦拉纳西佛塔制式，称扬佛祖于鹿野苑初转法轮。曲登可存放高僧大德真身舍利，且寓佛法于筑造细节，尤作三业中「意」之象征，亦受供奉。 塔基拔地而起，基顶作莲花座，托三层屋宇次第缩小，呈金字塔状；各侧中央墙体突出，分作两层，下层设门，通往内室；八扇开口，或窗或门，均布各侧。屋宇之上见穹状塔身，垂缀璎珞，镶嵌珠宝。穹顶围栏，耸立十三级尖塔，塔顶作华盖，华盖顶尖稍有缺损。 曲登建筑之递演仍有待研究，然西藏曲登无论小大，皆数量众多，是为无疑。遇大曲登，信众作礼围绕，更有曲登内设龛堂，塑画佛菩萨形象。此尊微型曲登或以江孜白居寺十万佛塔为蓝本缩略而来，该十万佛塔约于1442年落成；此尊曲登与白居寺十万佛塔同为吉祥多门塔式。