拍品编号：PMJG3862

拍品名称：灌顶小卡x7

拍品年代：15th

拍品尺幅：21 * 18（厘米）

起拍价： 40,000 USD

成交金额： 81,250 USD

折合人民币：81250 USD

拍品类型： 匝卡（小卡）

拍品地域：西藏

拍品材质：布

拍品主题：人物

拍卖公司：CHRISTIE'S（佳士得）

拍卖专场：杭廷顿伉俪珍藏（2022-09）

拍卖时间：2022年9月

拍卖地点：纽约

原始编号：418

内容:

A GROUP OF SEVEN INITIATION PAINTINGS
TIBET, 15TH CENTURY
40 3/8 x 50 5/8 in. (102.6 x 128.6 cm.) (overall, framed)
8 1/4 x 7 1/4 in. (21 x 18.4 cm.) (largest)
来源

Oriental Antiquities, London, 10 November 1970.
The John C. and Susan L. Huntington Collection, Columbus, Ohio.
出版

Susan L. and John C. Huntington, Leaves from the Bodhi Tree: The Art of Pala India (8th-12th Centuries) and its International Legacy, Dayton, 1990, pp. 346-348, cat. no. 119a-c.
Himalayan Art Resources, item no. 24785.
展览

The Dayton Art Institute; Baltimore, The Walters Art Gallery; The Newark Museum; Chicago, The David and Alfred Smart Gallery, "Leaves from the Bodhi Tree: The Art of Pala India (8th-12th centuries) and Its International Legacy," 11 November 1989-2 December 1990, cat. no. 119.
荣誉呈献
Tristan Bruck
Tristan Bruck
Specialist, Head of Sale
TBRUCK@CHRISTIES.COM

+1 212 636 2163

拍品专文
These seven paintings belong to a mandala set used in initiations and consecrating temples. Initiation paintings are relatively small works used to facilitate private ceremonies in which a Buddhist teacher initiates a disciple into a particular set of tantric teachings, and more generally, in any ritual setting that requires small painted images of the Buddhist pantheon. Although this set of paintings is no longer complete, it is clear from the iconography of the surviving works that it was meant to serve as an introduction to a thirty-seven deity mandala. Depicted within this partial set are: Buddha Shakyamuni, White Manjushri, Virupaksha, Blue Jambhala, Red Jambhala, Vaishravaa and Dhtarashtra. Paintings such as these would also be hung across the front of a temple interior to demonstrate the presence of deities and as a part of the consecration materials of the temple.
Stylistically, the Newari-style facial features along with the dark outlining of the contour echoes the fourteenth and fifteenth century paintings of Kumbum Monastery in central Tibet. Motifs such as the hyper-stylized foliage behind the images of Manjushri, Maitreya, and the two Jambhalas are directly related to Newari schools of painting, while the lotus petals with gradient shading were popularized by the Mongol Yuan patronage of Newari artists. The treatment of the background in the three guardian-kings is of particular interest as the swirling cloud outlined with gold, popular in Ming Buddhist paintings, exemplifies the importation of Chinese motifs to an otherwise Newari style.
The technique, composition, and the visual vocabulary in this set shares close resemblance to a fourteenth-century group of initiation paintings published in Jane Casey’s article “Buddhist Initiation Paintings from the Yuan Court (1271-1368) in the Sino-Himalayan Style.” Further comparisons can be made with a partial set of Hayagriva initiation sets in the collection of the Metropolitan Museum of Art, New York (acc. no. 2000.282.16). These paintings stand testament to a highly international Tibetan style that combines mid-fourteenth century Newari painting traditions with Chinese motifs.