拍品信息
拍品名称
藏東 十八世紀 釋迦牟尼唐卡 | A THANGKA OF BUDDHA SHAKYAMUNI
年代
EASTERN TIBET, 18TH CENTURY
起拍价
HKD 30,000
估值区间
未知
尺寸
未知
品相
未知
更多信息
EASTERN TIBET, 18TH CENTURY
Distemper on cloth; with silk mounts.
Himalayan Art Resources item no. 207036
Image : 74.5 x 47.5 cm (29 3/8 x 18 3/4 in.)
With Silks: 135.5 x 77.5 cm (53 3/8 x 30 1/2 in.)
Footnotes
藏東 十八世紀 釋迦牟尼唐卡
Provenance
John and Karina Stewart Collection, since 2016
Shakyamuni Buddha sits in dhyanasana upon a multicolored lotus throne, his golden body framed by concentric green, dark blue and peach-colored aureoles. Wearing patterned red monastic robes, he raises his right hand before his chest and holds a begging bowl in his left. An elaborate textile canopy is suspended above, while monks seated on banks of clouds and richly adorned bodhisattvas surround the central figure.
The lower field unfolds into a luxuriant, almost paradisiacal landscape of oversized pink and white peonies, dense blue-green foliage, flowing water, birds, offerings and narrative figures. Such imagery recalls the abundant natural settings of Pure Land painting and is characteristic of the landscape-oriented vocabulary associated with Trehor Namkha Gyan and the Kandze tradition. Compare the concentric aureoles and flowering landscape of a Shakyamuni painting (HAR 83401), and the deep blue ground, cloud formations and blue-green landscape of a Marichi painting (HAR 83404), both associated with Trehor Namkha Gyan.
Distemper on cloth; with silk mounts.
Himalayan Art Resources item no. 207036
Image : 74.5 x 47.5 cm (29 3/8 x 18 3/4 in.)
With Silks: 135.5 x 77.5 cm (53 3/8 x 30 1/2 in.)
Footnotes
藏東 十八世紀 釋迦牟尼唐卡
Provenance
John and Karina Stewart Collection, since 2016
Shakyamuni Buddha sits in dhyanasana upon a multicolored lotus throne, his golden body framed by concentric green, dark blue and peach-colored aureoles. Wearing patterned red monastic robes, he raises his right hand before his chest and holds a begging bowl in his left. An elaborate textile canopy is suspended above, while monks seated on banks of clouds and richly adorned bodhisattvas surround the central figure.
The lower field unfolds into a luxuriant, almost paradisiacal landscape of oversized pink and white peonies, dense blue-green foliage, flowing water, birds, offerings and narrative figures. Such imagery recalls the abundant natural settings of Pure Land painting and is characteristic of the landscape-oriented vocabulary associated with Trehor Namkha Gyan and the Kandze tradition. Compare the concentric aureoles and flowering landscape of a Shakyamuni painting (HAR 83401), and the deep blue ground, cloud formations and blue-green landscape of a Marichi painting (HAR 83404), both associated with Trehor Namkha Gyan.
