卓弥·释迦益西

藏中
卓弥·释迦益西（994-1078年），是藏传佛教后弘期中翻译新密续的大翻译家之一，他在藏传佛教后弘期的初期阶段翻译了不少重要新密续经典，为藏传佛教新密续的建立做出过巨大贡献，故在藏传佛教史书中一般称其为卓弥译师。萨迦派的核心教法道果法就源自卓弥译师，故卓弥译师在萨迦派的历史上更具有无与伦比的崇高地位。萨迦派教法传承的历史，是自从卓弥译师讲起的。卓弥译师不仅是一名大翻译家，而且也是一位著名祖师。不少高僧大德都曾在卓弥译师的门下学习过佛法，诸如噶举派的祖师玛尔巴大师（1012-1097年）、著名的桂译师（生活于11世纪），以及为宁玛派的形成起过关键性作用的高僧素尔波且·释迦迥乃（1002-1062年）等等，他们都曾拜卓弥译师为师求法。
卓弥译师的形象在萨迦传承图像和造像中均较为常见，故此尊造像可确认为卓弥译师。译师面相特征明显，极为写实，平和喜悦的表情一如世俗老人般亲切。躯体壮硕，着袒右僧衣，外披僧袍。双手施转法轮印，全跏趺坐，足心错嵌银质小花。僧衣阴刻田格纹、卷草纹，僧袍正面边缘阴刻大卷草花卉，背面光素，简洁的阴刻纹饰与贴体起伏的质感相得益彰，为此时期西藏中部造像精品。（马晟楠）

'Brog mi Shā kya ye shes
Central Tibet
Brass with silver inlay
13th century
24 cm
Zhiguan Museum of Fine Art

'Brog mi Shā kya ye shes (994 – 1078) was one of the great translators of new Esoteric Buddhist texts during the Second Period of Expansion of Buddhism into Tibet. He translated numerous new works during this time, and for his major contribution to the establishment of a new canon is known as “'Brog mi the translator” in Tibetan Buddhist historical records. Lam 'bras bu dang bcas pa, the core teaching of the Sa skya pa sect, was derived from 'Brog mi the translator. Since the origin of its teachings can be traced back to ‘Brog mi, he is highly esteemed in the history of this sect. Not only was he a great translator, but also an eminent ancestral teacher. His students, including such prominent lamas as Mar pa (1012 – 1097), the founder of bKa' brgyud pa sect, 'Gos khug pa lhas btsas (11th century), and Zur po che Shā kya 'byung gnas (1002 – 1062), a prominent figure of rNying ma sect, requested instruction from him as teacher.
The figure can be identified as 'Brog mi the translator, as his image is common among statues and paintings originating in the Sa skya tradition. His facial features are extremely striking, exceptionally realistic, a peaceful and joyful facial expression as warm and inviting as an old man from the mundane world. His masculine torso is wrapped in a kāṣāya that exposes his right shoulder, a cloak draped on the outside. Seated in vajraparyaṅkāsana (cross-legged posture), the center of the feet carved with floral design in silver inlay, he makes a dharmacakra mudra (gesture of teaching) with both hands. The robe is decorated with a checkered pattern and a foliage pattern, while the edge of the cloak front is incised with a floral design and the back side is plain, the simplified pattern complementing the rising and falling feeling of the skintight robe. This is a masterpiece among its counterparts from Central Tibet. (Written by Ma Shengnan, translated by Zhan Zhenpeng)