Lot 18 西藏 十九世紀 無量光佛聖境唐卡 | A THANGKA OF AMITABHA IN SUKHAVATI HEAVEN
落槌价
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成交价
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拍品信息
拍品名称
西藏 十九世紀 無量光佛聖境唐卡 | A THANGKA OF AMITABHA IN SUKHAVATI HEAVEN
年代
TIBET, 19TH CENTURY
起拍价
HKD 26,000
估值区间
未知
尺寸
未知
品相
未知
更多信息
TIBET, 19TH CENTURY
Distemper on cloth; mounted with silks.
Himalayan Art Resources item no. 207048
Image: 60 x 44 cm (23 5/8 x 17 3/8 in.)
With silks: 127.5 x 75.5 cm (50 1/4 x 29 1/4 in.)
Footnotes
西藏 十九世紀 無量光佛聖境唐卡
Provenance
John and Karina Stewart Collection, since 2010s
Amitabha in Sukhavati, the Pure Land of Bliss, is a common subject in Himalayan and Tibetan Buddhist art, representing a central theme of Mahayana Buddhism. Here Amitabha occupies the centre of the composition as the largest figure, seated before a palace set in a celestial garden. Above him, Vajrasattva and his consort appear in the upper left, while Shadakshari Lokeshvara is depicted in the upper right. Below Amitabha are the Eight Great Bodhisattvas, with Avalokiteshvara and Vajrapani flanking him immediately to the left and right, respectively, and the remaining six arranged beneath them in a hierarchical configuration. At the bottom of the painting, monks approach in reverence through a garden setting. For a similar composition, see a thangka published on HAR (65281).
Distemper on cloth; mounted with silks.
Himalayan Art Resources item no. 207048
Image: 60 x 44 cm (23 5/8 x 17 3/8 in.)
With silks: 127.5 x 75.5 cm (50 1/4 x 29 1/4 in.)
Footnotes
西藏 十九世紀 無量光佛聖境唐卡
Provenance
John and Karina Stewart Collection, since 2010s
Amitabha in Sukhavati, the Pure Land of Bliss, is a common subject in Himalayan and Tibetan Buddhist art, representing a central theme of Mahayana Buddhism. Here Amitabha occupies the centre of the composition as the largest figure, seated before a palace set in a celestial garden. Above him, Vajrasattva and his consort appear in the upper left, while Shadakshari Lokeshvara is depicted in the upper right. Below Amitabha are the Eight Great Bodhisattvas, with Avalokiteshvara and Vajrapani flanking him immediately to the left and right, respectively, and the remaining six arranged beneath them in a hierarchical configuration. At the bottom of the painting, monks approach in reverence through a garden setting. For a similar composition, see a thangka published on HAR (65281).
