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Lot 84

A RARE AND EXCEPTIONAL CHINESE GILT-BRONZE SEATED FIGURE OF PANJARNATE MAHAKALA, MING DYNASTY, YONGLE/XUANDE PERIOD, EARLY 15TH CENTURY
The crowned deity stands on a supine figure atop a double-lotus throne, wearing an elaborate apron and holding a skull cup in one hand. Finely cast with intricate detailing throughout.

Panjarnata Mahakala is frequently, though not invariably, depicted balancing a baton (Gandhi) in the crooks of his arms-a feature from which all other manifestations of Mahakala are believed to originate. Nonetheless, even in the absence of the baton, the deity's single face and two-armed wrathful form, wielding a kartri (ritual chopper) and kapala (skull cup), clearly identifies him as Panjarnata Mahakala, the revered "Lord of the Pavilion." He serves as the principal protector of the Hevajra Tantra cycle within the Sakya School, and his iconography and ritual practices are documented in Chapter 18 of the Vajra Panjara Tantra, as well as Chapters 25 and 50 of the Mahakala Tantras.

Although the present figure lacks an inscribed reign mark, its style closely aligns with the imperial gilt-bronze sculpture produced during the Yongle and Xuande periods. A closely related gilt-iron figure bearing a Yongle mark is housed in the Palace Museum, Beijing, and published in Splendors from the Yongle and Xuande Reigns of China's Ming Dynasty: Classics of the Forbidden City, Beijing, 2012, p. 247, no. 133. Another comparable Yongle-period gilt-bronze figure is in the collection of the Potala Palace, Lhasa, illustrated in The Times and the Styles of Statues of Buddha in Chinese Buddhism, Beijing, 2010, p. 216, fig. 234.

Further comparisons include a similar Panjarnata Mahakala figure, of nearly identical posture and attributed to the Yongle-Xuande period, which was sold at Christie's Hong Kong on 30 May 2018, lot 2863, for HKD 12,100,000 (approximately AUD 2,365,900). Another slightly larger gilt-bronze example from the same period was sold at Christie's Hong Kong on 29 May 2019, lot 2707, for HKD 9,245,000 (approximately AUD 1,807,665). Most notably, a larger example (72.5 cm high) bearing a Xuande mark was sold at Sotheby's Hong Kong on 26 November 2024, lot 3815, for HKD 40,800,000 (approximately AUD 7,977,583).

明永樂/宣德 鎏金銅宝帐大黑天金剛立像

般闍那他大黑天常見(但並非必然)於雙臂彎處橫持一根權杖(Gandhi),據說所有其他大黑天的化現皆由此而生。然而,即便權杖缺失,其單面雙臂、忿怒威猛的形象,手持鉞刀(kartri)與骷髏碗(kapala),亦可明確識別為般闍那他大黑天——被尊為“壇城之主”。此尊為薩迦派喜金剛續中的主要護法,其造像及儀軌記載於《金剛幕續》第十八章,以及《大黑天續》的第二十五與第五十章之中。

儘管此尊造像未見紀年款識,其風格與明代永樂及宣德年間的宮廷銅鎏金佛像極為相符。北京故宮博物院藏有一尊風格極為相似並帶有永樂款的鐵鎏金般闍那他大黑天像,著錄於《盛世華藏——明代永宣宮廷藝術》,北京,2012年,頁247,編號133。另有一尊永樂時期的銅鎏金般闍那他大黑天像,現藏西藏布達拉宮,刊載於《中國佛教造像藝術的時代與風格》,北京,2010年,頁216,圖234。

亦可參考數件市場上已錄得的相近拍品,包括一尊姿態幾乎相同、斷代為永樂至宣德時期的般闍那他大黑天像,售於佳士得香港,2018年5月30日,拍品編號2863,成交價為12,100,000港元(約合2,365,900澳元);以及一尊尺寸略大、同為明初時期的銅鎏金像,售於佳士得香港,2019年5月29日,拍品編號2707,成交價為9,245,000港元(約合1,807,665澳元)。最具代表性者為一尊高達72.5公分、帶有宣德款的大型般闍那他大黑天像,售於蘇富比香港,2024年11月26日,拍品編號3815,成交價高達40,800,000港元(約合7,977,583澳元)。




19cm high; 14cm wide; weight 2760g

Estimate $120,000 - $200,000

Sold for $155,000

Overall, in good condition. The right ribbon is missing, and one paddle of the crown is bent. A small Buddha head from the crown is also missing. There is slight wear to the gilt, which is consistent with age and usage.


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The opinions expressed in the condition reports are a guide only and should not be treated as a statement of fact. Prospective buyers are encouraged to seek further information or request additional images during our pre-sale period where Leonard Joel staff are available for advice. Please note condition reports can be amended during the pre-sale period, so we strongly suggest any interested bidders check the published condition report available on the website before the auction commences. Leonard Joel makes no guarantee of the originality of mechanical or applied components. Absence of reference to such modifications does not imply that a lot is free from modifications.


The Julian Sterling Collection from the private collection of Robert Bleakley, Specialist of Tibetan and Indian art, Sotheby's London, 1978-1982. Founding CEO and chairman of Sotheby's Australia, 1982 - 1998.
Mossgreen Asian Art, Melbourne, 18 November 2013, Lot 177.


Melbourne, "The Art of Tibet, the Land of the Snow", The Gryphon Gallery, Melbourne State College, 1982.


"The Art of Tibet, the Land of the Snow", The Gryphon Gallery, Melbourne State College, 1982, cat no. 29, p.11.


This powerful and highly active form of Mahakala known as the 'Protector of the Pavilion' is one of Tibet's great protective deities but his wrath is intended to protect those practicing the secret, Hevajra Tantra from all hindrances. Such practice requires elaborate mental 'pavilions' which act as sacred spaces for practice.
In this stunningly elaborate and perfectly made image Mahakala is seen almost squatting on a supine figure who represents all the hindrances which have been overcome. His inner wrath is clear from both his face and bodily pose…but that wrath is tranquil at heart and is always directed inwardly to the practitioner's own inner hindrances. This is best symbolized by the blood-filled skull cup and chopper he holds. The chopper is symbolic of severing ignorance away from one's own inner wisdom and the skull cup contains that wisdom which is depicted as blood. That Mahakala has mastered all five forms of wisdom is reflected in the five-pointed emblems in his crown.
This remarkable piece of bronze casting demonstrates admirably how advanced the Tibetans were in their workmanship. Indeed slightly before the period in which this image was created Aniko, a Nepalese artisan working in Tibet, was summoned to the Yuan court of China to make images for the Emperor. Mahakala was particularly popular in the Sakya tradition of Tibetan Buddhism and it is likely that this image might have originated at the great Sakya monastery during the height of its power in both Tibet and at the Yuan court.
By Dr. David Templeman, Monash University, Melbourne

此尊大黑天(Mahakala)造像呈現「亭護者」形態,為西藏重要護法之一,其忿怒之力旨在保護修持密續《喜金剛》者免受一切障礙。此類修持需建構複雜的心靈「亭閣」,作為修行的神聖空間。

於此極為精緻、工藝完美的造像中,大黑天幾乎蹲伏於一仰臥之人形之上,象徵已克服的諸種障礙。他的忿怒由面部表情及身體姿態清晰可見,但此忿怒內心平靜,始終指向修行者自身內在障礙。此意義最清楚地表現於他所持的盛血骷髏杯與斬刀:斬刀象徵斬斷無明,以顯現內在智慧;骷髏杯盛有象徵智慧之血液。大黑天已掌握五種智慧,其五角星紋飾於冕冠上即為象徵。

此尊青銅鑄像卓絕,充分展現西藏工藝之高超。事實上,在此像製作年代稍早,尼泊爾工匠阿尼科(Aniko)曾受召至元朝宮廷為皇帝製作佛像。大黑天在薩迦派藏傳佛教中極為盛行,此像極可能源自薩迦大寺,當時薩迦寺在西藏及元朝宮廷皆極具影響力。

——墨爾本蒙納士大學
戴維‧坦普曼(David Templeman)教授

Important Chinese and Asian Art

AUCTION
Sale: LJ8791
11:00am - 2 November 2025
Hawthorn

VIEWING
Thur 30 Oct - Sat 1 Nov, 10am - 4pm
2 Oxley Rd, Hawthorn VIC

CONTACT
Luke Guan
asianart@leonardjoel.com.au


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