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拍品专文
This rare carving represents Begtse Chen, also known as Trichapa Chamsin, one of the eight revered Dharmapalas, or wrathful Dharma protectors, in Tantric Buddhism. More than a guardian figure, Begtse Chen embodies a complex narrative of transformation, cultural integration, and religious expansion in Inner Asia. So few examples of carved stone are known from this period in Tibet and it stands out as an exceptional representation of a revered protector.
Originally a pre-Buddhist war deity venerated in 16th-century Mongolia, Begtse Chen’s transition into the Buddhist pantheon reflects a profound moment in Mongolian religious history. According to tradition, Begtse Chen confronted Sonam Gyatso, the Third Dalai Lama, during his 1575 journey to Mongolia. Upon his defeat, Begtse Chen was dramatically converted to Buddhism, symbolising the triumph of the Dharma over indigenous beliefs and marking a pivotal step in the spread of Buddhism in the region.
This religious integration gained momentum just two years later in 1577, when Sonam Gyatso formed a historic alliance with Altan Khan, leader of the Tumed Mongols. Altan Khan’s conversion to the Gelug School of Tibetan Buddhism initiated widespread state-sponsored support for the faith, including the construction of temples and monasteries across Mongolia. Within this rapidly evolving religious landscape, Begtse Chen was fully incorporated into the Tibetan Buddhist pantheon as a protector of the Dharma. His cult spread broadly, serving both spiritual and political functions in the growing cultural dialogue between Tibet and Mongolia.
The present black stone sculpture powerfully encapsulates this narrative. Carved with extraordinary precision and artistry front and back, the figure conveys a compelling duality. The naturalistic modelling of the body, especially the gently bent left arm raised in vitarka mudra, that would have held a fresh human heart amplifies ferocity of Begtse Chen’s wrathful visage: the right arm raised that would have brandished a sword, bulging eyes, a protruding tongue, sharply cast fang-like teeth, and a flaming mane, all underscoring his fearsome power as a spiritual protector.
Further enhancing the sculpture’s impact are its richly detailed accoutrements, chainmail armour, a tiara of skulls, and intricate jewellery, all skilfully rendered to emphasise both the divine authority and the martial origins of the deity. The overall composition is dynamic yet balanced, reflecting the masterful craftsmanship of 16th-century Tibetan ateliers.
As both an artwork and a historical artifact, this black stone carving of Begtse Chen stands as a testament to the transformative journey of Buddhism across Central Asia. It embodies not only the fierce devotion to the preservation of Buddhist orthodoxy but also the dynamic cultural syncretism that shaped the spiritual landscape of the region.
Originally a pre-Buddhist war deity venerated in 16th-century Mongolia, Begtse Chen’s transition into the Buddhist pantheon reflects a profound moment in Mongolian religious history. According to tradition, Begtse Chen confronted Sonam Gyatso, the Third Dalai Lama, during his 1575 journey to Mongolia. Upon his defeat, Begtse Chen was dramatically converted to Buddhism, symbolising the triumph of the Dharma over indigenous beliefs and marking a pivotal step in the spread of Buddhism in the region.
This religious integration gained momentum just two years later in 1577, when Sonam Gyatso formed a historic alliance with Altan Khan, leader of the Tumed Mongols. Altan Khan’s conversion to the Gelug School of Tibetan Buddhism initiated widespread state-sponsored support for the faith, including the construction of temples and monasteries across Mongolia. Within this rapidly evolving religious landscape, Begtse Chen was fully incorporated into the Tibetan Buddhist pantheon as a protector of the Dharma. His cult spread broadly, serving both spiritual and political functions in the growing cultural dialogue between Tibet and Mongolia.
The present black stone sculpture powerfully encapsulates this narrative. Carved with extraordinary precision and artistry front and back, the figure conveys a compelling duality. The naturalistic modelling of the body, especially the gently bent left arm raised in vitarka mudra, that would have held a fresh human heart amplifies ferocity of Begtse Chen’s wrathful visage: the right arm raised that would have brandished a sword, bulging eyes, a protruding tongue, sharply cast fang-like teeth, and a flaming mane, all underscoring his fearsome power as a spiritual protector.
Further enhancing the sculpture’s impact are its richly detailed accoutrements, chainmail armour, a tiara of skulls, and intricate jewellery, all skilfully rendered to emphasise both the divine authority and the martial origins of the deity. The overall composition is dynamic yet balanced, reflecting the masterful craftsmanship of 16th-century Tibetan ateliers.
As both an artwork and a historical artifact, this black stone carving of Begtse Chen stands as a testament to the transformative journey of Buddhism across Central Asia. It embodies not only the fierce devotion to the preservation of Buddhist orthodoxy but also the dynamic cultural syncretism that shaped the spiritual landscape of the region.