50.5 cm (19.9 in)
From the collection of John and Berthe Ford. Published: Pal, Pratapaditya. "American Collectors of Asian Art", 1986, pg. 200, pl. 14.
Exhibited: Rubin Museum of Art, "Female Buddhas: Women of Enlightenment in Himalayan Art", June 4, 2005 - January 15, 2006
HAR # 73897
The goddess Sitataptra is portrayed with 1000 faces, 1000 hands, 1000 legs and 10,100,000 (ten million one hundred thousand) eyes. The main face in front is white with 199 white faces above, to the left is a vertical row of yellow faces, to the right is a vertical row of green faces, and on top of those are 200 more blue faces. Each face has three eyes and each set of colored faces displays a different expression. In the first pair of hands the right holds a Dharma Wheel in the Refuge Giving mudra (gesture) and the left holds an arrow together with the handle of a parasol, held to the heart, unfurled above on the right side. She is adorned with various jewel ornaments and wears upper and lower silk garments of assorted colors.
A further 99 pairs of hands hold in the right a Dharma Wheel and an arrow in the left. The remaining 400 hands on the right hold a vajra, jewel, lotus and vishvavajra (double vajra), 100 of each object. The remaining 400 hands on the left hold a bow, sword, lasso and hook, again 100 of each object. The 500 legs on the left side are extended above worldly deities and a host of animals and the legs on the right are bent and press down on all worldly troubles, daemons and animals. All the limbs and parts of her body are covered with large staring eyes, flashing like lightning, earnestly longing out of compassion for sentient beings. She stands upon a lotus and is completely surrounded by the flames of pristine awareness.
Art History: The Qianlong Emperor was dedicated to the large scale production of Buddhist works of art and is remembered for the development of distinct artistic styles. Many of the Buddhist gilt bronze statues produced under the patronage of Qianlong followed Gelugpa artistic tastes and iconographic regimens. Many of these figures are easily recognizable for the portrayal of heavy sets of legs as exemplified most notably in the large scale production of Vajrabhairava statues in the Qianlong period.
Qianlong’s closest advisor in Buddhist matters was his boyhood friend and tutor, Changkya Rolpai Dorje, a master of the Gelug tradition. The previously obscure protective goddess Sitataptra found widespread propitiation under the flourishing of the Gelug school just after the time of the 5th Dalai Lama. As a result of this, many examples of Sitataptra can be found throughout some of Beijing’s most important Buddhist centers such as Yonghegong and Bei Hai. This example of Sitatapatra was likely produced in or around Lhasa and exhibits characteristics of strong Chinese influence. A similar example likely from the same atelier can be found at the Pitt RiversMuseum, University of Oxford. (HAR # 35846)
50.5 厘米（19.9 英寸）
来自John and Berthe Ford收藏
出版：Pal, Pratapaditya. "American Collectors of Asian Art", 1986年, 200页
展览：鲁宾艺术博物馆，"Female Buddhas: Women of Enlightenment in Himalayan Art"，2005年6月4日至2006年1月15日