明正統 鎏金銅綠度母坐像 |

歐洲私人收藏

Christopher Bruckner，《御製古玩：皇宮寺廟寶藏》，卷2，倫敦，2005年，編號7

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This majestic sculpture portrays Green Tara (Syamatara) represented with a benevolent expression, seated in lalitasana on a double-lotus pedestal. It represents a clear development of the sculptural and iconographic traditions associated with the renowned gilt-bronzes of the Yongle and Xuande periods, and serves as a benchmark for stylistic evaluation of mid-fifteenth century Buddhist works. It is closely related to a Zhengtong reign-marked figure of Avalokiteshvara of smaller size but identical iconography in the Palace Museum Collection, Beijing, dated to 1441, illustrated in The Complete Collection of Treasures of the Palace Museum. Statues of Tibet, Hong Kong, 2008, p. 232, pl. 221. Compare also another rare example originally in the collection of Joseph Morak, dated to 1447, sold in these rooms, 7th October 2015, lot 3113.

There are various tales relating to the origin of Tara, but one of the more common is that she appeared on a lotus flower on a lake formed by the tears of the Bodhisattva of compassion Avalokiteshvara. Her Sanskrit name comes from tar, meaning 'to cross”, signifying her role in helping to cross the ocean of existence, and she is also known as the “mother of all Buddhas and Bodhisattvas'. The two wives of the Tibetan King, Srong-Tsan-Sgam-Po, one a Nepalese princess, the other Chinese, were believed to be incarnations of Tara, and this gave rise to the two distinct forms: White Tara and Green Tara.