拍品信息
拍品名称
藏中 十四/十五世紀 勝樂金剛唐卡 | A THANGKA OF CHAKRASAMVARA
年代
CENTRAL TIBET, 14TH/15TH CENTURY
起拍价
HKD 450,000
估值区间
HKD 450000 - 650000
尺寸
未知
品相
未知
更多信息
CENTRAL TIBET, 14TH/15TH CENTURY
Distemper on cloth.
Himalayan Art Resources item no. 8872
49 x 38.3 cm (19 1/4 x 15 1/8 in.)
Footnotes
藏中 十四/十五世紀 勝樂金剛唐卡
Provenance
Private French Collection
John and Karina Stewart Collection, since 2013
The present thangka depicts Chakrasamvara in ecstatic union (yab-yum) with his consort Vajravarahi, representing one of the principal meditational deities (yidam) of the Sakya Lamdre ("Path and its Fruit") tradition. Blue-black in complexion with four faces and twelve arms, Chakrasamvara stands in alidhasana upon the supine figures of Bhairava and Kalaratri, symbolizing the subjugation of ignorance and cyclic existence. His principal hands embrace Vajravarahi while holding the vajra and ghanta in the vajrahumkara gesture, while the remaining hands wield the ritual implements prescribed in the Tantra, including the karttrika, kapala, damaru, khatvanga, parasu, and noose. A flayed elephant hide is draped across his shoulders, signifying the conquest of pride and ignorance. Vajravarahi, red in complexion and single-faced, clasps the deity with her legs entwined around his waist while raising the and skull cup, embodying the inseparable union of wisdom () and compassionate means (). The divine couple stand upon a multicolored double-lotus pedestal encircled by an aureole of scrolling wisdom flames and are flanked by elaborate ritual offering vessels surmounted by victory banners.
The composition follows the hierarchical organization characteristic of early Sakya lineage paintings. The upper register presents a succession of Indian mahasiddhas, Buddhist teachers, and early Tibetan lineage masters, culminating in the Sakya tradition. Immediately flanking the principal deity are two enlarged Sakya hierarchs distinguished by their prominent placement, emphasizing the primacy of guru transmission within the Lamdre teachings. Additional lineage holders are interspersed with tantric meditational deities, visually expressing the close relationship between lineage transmission and esoteric practice that defines the Sakya tradition. Occupying the vertical side registers is the retinue of the Chakrasamvara cycle. Arranged symmetrically within rounded vermilion niches and shown in dynamic dancing postures, these attendant , , and wrathful deities wield the characteristic implements of Highest Yoga Tantra—including the vajra, —forming the retinue surrounding the principal . The lower register is devoted to a pantheon of wrathful protector deities () associated with the Chakrasamvara tradition.
The painting is distinguished by its compact vertical composition, continuous vermilion niches set against a deep black ground, finely articulated scrolling flames, restrained mineral palette, and delicate gold linework defining the figures, textiles, and jewelry. The monumental scale of the central deity, the disciplined hierarchical arrangement of lineage masters, tantric deities, attendant figures, and protector deities, together with its strongly Newar-derived stylistic vocabulary, firmly situate the work within the mature period of Sakya painting in Central Tibet.
Several comparisons may be drawn with other Sakya paintings of the 14th and 15th centuries. The hierarchical composition, spatial organization, and refined Newar-derived ornamental vocabulary are shared by a thangka of Raktayamari within the Kronos Collection (Kossak & Singer, , 1998, pp. 150-51, cat. 40). The scrolling flame aureole surrounding the principal deity finds a particularly close parallel to a circa 1450 thangka of Esoteric Buddhist Deities from the Pritzker Collection (Pal, , 2003, pp. 66–67, cat. 37). Lastly, the iconography of the four-faced, twelve-armed Chakrasamvara in closely corresponds to a Paramasukha-Chakrasamvara thangka published in Rhie & Thurman, , 1991, pp. 216-17, cat. 69.
Distemper on cloth.
Himalayan Art Resources item no. 8872
49 x 38.3 cm (19 1/4 x 15 1/8 in.)
Footnotes
藏中 十四/十五世紀 勝樂金剛唐卡
Provenance
Private French Collection
John and Karina Stewart Collection, since 2013
The present thangka depicts Chakrasamvara in ecstatic union (yab-yum) with his consort Vajravarahi, representing one of the principal meditational deities (yidam) of the Sakya Lamdre ("Path and its Fruit") tradition. Blue-black in complexion with four faces and twelve arms, Chakrasamvara stands in alidhasana upon the supine figures of Bhairava and Kalaratri, symbolizing the subjugation of ignorance and cyclic existence. His principal hands embrace Vajravarahi while holding the vajra and ghanta in the vajrahumkara gesture, while the remaining hands wield the ritual implements prescribed in the Tantra, including the karttrika, kapala, damaru, khatvanga, parasu, and noose. A flayed elephant hide is draped across his shoulders, signifying the conquest of pride and ignorance. Vajravarahi, red in complexion and single-faced, clasps the deity with her legs entwined around his waist while raising the and skull cup, embodying the inseparable union of wisdom () and compassionate means (). The divine couple stand upon a multicolored double-lotus pedestal encircled by an aureole of scrolling wisdom flames and are flanked by elaborate ritual offering vessels surmounted by victory banners.
The composition follows the hierarchical organization characteristic of early Sakya lineage paintings. The upper register presents a succession of Indian mahasiddhas, Buddhist teachers, and early Tibetan lineage masters, culminating in the Sakya tradition. Immediately flanking the principal deity are two enlarged Sakya hierarchs distinguished by their prominent placement, emphasizing the primacy of guru transmission within the Lamdre teachings. Additional lineage holders are interspersed with tantric meditational deities, visually expressing the close relationship between lineage transmission and esoteric practice that defines the Sakya tradition. Occupying the vertical side registers is the retinue of the Chakrasamvara cycle. Arranged symmetrically within rounded vermilion niches and shown in dynamic dancing postures, these attendant , , and wrathful deities wield the characteristic implements of Highest Yoga Tantra—including the vajra, —forming the retinue surrounding the principal . The lower register is devoted to a pantheon of wrathful protector deities () associated with the Chakrasamvara tradition.
The painting is distinguished by its compact vertical composition, continuous vermilion niches set against a deep black ground, finely articulated scrolling flames, restrained mineral palette, and delicate gold linework defining the figures, textiles, and jewelry. The monumental scale of the central deity, the disciplined hierarchical arrangement of lineage masters, tantric deities, attendant figures, and protector deities, together with its strongly Newar-derived stylistic vocabulary, firmly situate the work within the mature period of Sakya painting in Central Tibet.
Several comparisons may be drawn with other Sakya paintings of the 14th and 15th centuries. The hierarchical composition, spatial organization, and refined Newar-derived ornamental vocabulary are shared by a thangka of Raktayamari within the Kronos Collection (Kossak & Singer, , 1998, pp. 150-51, cat. 40). The scrolling flame aureole surrounding the principal deity finds a particularly close parallel to a circa 1450 thangka of Esoteric Buddhist Deities from the Pritzker Collection (Pal, , 2003, pp. 66–67, cat. 37). Lastly, the iconography of the four-faced, twelve-armed Chakrasamvara in closely corresponds to a Paramasukha-Chakrasamvara thangka published in Rhie & Thurman, , 1991, pp. 216-17, cat. 69.
常见问题
这件藏中 十四/十五世紀 勝樂金剛唐卡 | A THANGKA OF CHAKRASAMVARA的成交价是多少？
落槌价为 预展中。 成交价为 预展中。
