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拍品 937
  • 937

西藏 約1570年 五尊曼荼羅唐卡 |

估價
250,000 - 350,000 USD
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描述

  • Distemper on cloth
  • 55 x 48 cm

來源

Sotheby's New York, 2 June 1992, lot 41. 

展覽

“The Circle of Bliss: Buddhist Meditational Art”, Los Angeles County Museum of Art,  5 October-11 January 2003; and Columbus Museum of Art, 6 February-9 May 2004.

出版

Amy Heller, Tibetan Art: Tracing the Development of Spritual Ideals and Art in Tibet, Milan, 1999, cat. no. 91.

John C. Huntington and Dinah Bangdel, The Circle of Bliss: Buddhist Meditational Art, Chicago, 2003, p. 324, cat. no 90.

Condition

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拍品資料及來源

The two following paintings (lots 937 and 939) were commissioned in memory of the eleventh Abbot of Ngor monastery, Sengye Senge (1505-1569) by Drangti Namkha Palzang (1535-1602), who would become the thirteenth Abbot of Ngor; see Amy Heller, Tibetan Art: Tracing the Development of Spiritual Ideals and Art in Tibet 600-2000 A. D., Milan, 1999, p. 150.

The paintings are the tenth and eleventh in a series of mandala depicting deities from the Vajravali meditational system according to the Indian pandita Abhayakara Gupta: three other paintings from the series survive, se💝e Jeff Watt, Himalayan Ar🦋t Resources item no. 59875.

The second painting of the series, formerly in the Doris Wiener Collection, depicts the mandala of Hevajra; see Christie’s New York, 20 March 2012, lot 131. The twelfth painting in the series depicts the Dharmadhatuvagishvara mandala, see Detlef-Ingo Lauf, Secret Revelations of Tibetan Thangkas, Freiburg im Breisgau, 1976, pl. 26. Another mandala from the series in a private collection꧃ illustrates the cycle of Vajrayogini, W♈att, op. cit.

The set is likely to have been painted around 1570, following the demise of Sengye Senge. Ngor monastery has a long history of producing sets of Vajravali mandalas, beginning shortly after its foundation in 1429 when Kunga Zangpo (1387-1456) commissioned a series in honour of his teacher Saszang Phagpa, see David Jackson, A History of Tibetan Painting, Vienna, 1996, p. 82.

For a comprehensive discourse on the symbolism of the mandala of Kalachakra, see John Huntington and Dina Bangdel, The Circle of Bliss: Buddhist Meditational Art, Chicago, 2003, pp. 483-6, cat. no. 148.

Per Amy Heller, Tibetan Art: Tracing the Development of Spiritual Ideals and Art in Tibet 600-2000 A. D., Milan, 1999, p🌱. 150, the upper Tibetan inscription identifies the series and can be translated as follows: 

“[The] tenth of the paintings of the (Vajra)vali”

The lower Tibetan inscription identifies the patron and his g💟uru:

Made in reverent homage by Drangti Panchen Namkai Palzang to honour the memory of Vajradhara Sangye Senge”.