拍品编号：PMJG4204

拍品名称：观音

拍品年代：14th

拍品尺幅：65 * 54（厘米）

起拍价： 80,000 USD

成交金额： 流拍

折合人民币：流拍

拍品类型： 彩唐

拍品地域：西藏

拍品材质：布

拍品主题：人物

拍卖公司：Sotheby’s（苏富比）

拍卖专场：Dharma and Tantra, including Masterpieces from the Nyingjei Lam Collection（2023-09）

拍卖时间：2023年9月

拍卖地点：纽约

原始编号：137

内容:

Description

A paubha depicting Avalokiteshvara

Nepal, circa 1300

尼泊爾 約1300年 觀音唐卡

distemper on cloth

Himalayan Art Resources item no. 13919.

HAR編號13919

Height 25⅝ in., 65 cm; Width 21⅛ in., 54 cm

Condition Report

 As visible in the photos, there is creasing, rubbing, and losses to some of the details, especially around the edges.

The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colors and shades which are different to the lot's actual color and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation. The condition report is a statement of opinion only. For that reason, the condition report is not an alternative to taking your own professional advice regarding the condition of the lot. NOTWITHSTANDING THIS ONLINE CONDITION REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE/BUSINESS APPLICABLE TO THE RESPECTIVE SALE.

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Provenance

Collection of Ulrich von Schroeder

Collection of Lionel (1943-2017) and Danielle Fournier.

Christie's Paris, 12th December 2018, lot 36.

Ulrich von Schroeder 收藏

Lionel (1943-2017) 及 Danielle Fournier 伉儷收藏

巴黎佳士得2018年12月12日，編號36


Literature

Helmut Uhlig, Tantrische Kunst des Buddhismus, Verlag Ullstein GmbH Berlin, 1981, pp 156-57, cat. no. 52                                                                                                                                                
Exhibited

Art ésotérique de l'Himâlaya: Catalogue de la donation Lionel Fournier, Musée Guimet, Paris, 1990, cat. no. D. 

Catalogue Note

The red six-armed Avalokiteshvara with his principal hands before his chest in the teaching gesture (dharmachakra mudra), a rosary (mala) and manuscript (pustaka) in his upper left and right hands, the lowered right displaying the boon-granting gesture (varada mudra) and the lower left hand in the lap holding the stem of a lotus flowering at the shoulder, the bodhisattva seated at ease (lalitasana) on a tiered lotus throne draped with a floral patterned cloth, with peacocks and recumbent deer either side of a white lotus in the lower tier, serpent kings (nagaraja) in obeisance at either side, an arch (torana) behind with snow lions, semi-avian creatures (kinnara) and hybrid lions (vyala) at each side, adorsed crocodilian creatures (makara) on the crossbar and Garuda above clutching serpent deities (naga) in his talons, the throne flanked by palm trees and the goddesses Tara, Bhrikuti, Vilokini and Bhurini, red Macchendranath and white eight-armed Amoghapasha to the left and right above with sun, moon and celestial beings (vidyadhara), Avalokiteshvara Sadaksari upper left with a red six-armed form of Avalokiteshvara and two unidentified deities upper right, the topmost register with the five dhyani Buddhas and two bodhisattva, and scenes in the lower register of an officiant (vajracharya) presiding over a fire ceremony (homa), ritual offerings on tall stands, and a family of donors.

Close stylistic parallels are seen in the renowned set of three Tathagata paintings in American museum collections that are attributed to a Nepalese artist commissioned by a Tibetan patron, see Steven M. Kossak and Jane Casey Singer, Sacred Visions: Early Paintings from Central Tibet, New York, 1998, pp. 138-43, cat. nos. 36 a, b, c. Similarities include the elegant, uncrowded composition, the large scale of the principal figure, the delicate armbands, pearl necklaces and triple bracelets, the patterned dhoti, the design of the tiered throne and lotus petal seat, the folds of the throne cloth, the format of the torana, and the detail in the lower tier of the throne in which a diminutive pair of recumbent deer flank the emblem of each deity: the white lotus of Avalokiteshvara in this painting, and the Tathagatas’ triratna, visvavajra and patra. The donor family and ritual scenes on the Avalokiteshvara indicate it was painted by a Newar artist for a local Nepalese patron. Such similarities in style would suggest the set of three paintings and the Avalokiteshvara were painted in the same general time period, perhaps within a few generations of artists in the Newar community. The Tathagatas have been attributed to the twelfth century in John C. Huntington and Dina Bangdel, The Circle of Bliss: Buddhist Meditational Art, Columbus, 2003, pp. 95-97, cat. no. 13, and thirteenth century in Kossak and Casey Singer, op. cit, pp. 138-43. The Avalokiteshvara is ascribed a date of thirteenth century in Helmut Uhlig, Tantrische Kunst des Buddhismus, Verlag Ullstein GmbH Berlin, 1981, pp. 156-7, and circa 1300 in Béguin, op. cit. A circa 1300 date would make the Avalokiteshvara one of the earliest known paintings on cloth from Nepal.