Xavier BEGUIN BILLECOCQ and Gilles PLANTE PERURENA. QATAR a fascinating journey through ancient maps, Paris, Heritage & Design, 2006, in-folio in its box. Forewords by Jacques Chirac, Hamad Bin Khalifa Al-Thani, Thierry Desmarest.

VAJRADHARA STATUETTE IN GILDED COPPER ALLOY NEPAL, EARLY MALLA PERIOD, 14TH CENTURY Himalayan Art Resources item no. 20418 42.5 cm (16 3/4 in.) high Footnotes: A GILT COPPER ALLOY FIGURE OF VAJRADHARA NEPAL, EARLY MALLA PERIOD, 14TH CENTURY Published Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 336, no. 141. Exhibited Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 -19 February 2017. Provenance Private German Collection Christie's, New York, 22 March 2000, lot 73 The Diamond Vehicle of Nepal Vajrayāna (the Diamond Vehicle), a practice developed during the later stages of Buddhism, sees the proliferation of deities subject to the religious school or, at times, even the monastery. In addition to a rich pantheon inherited from the Indian tradition are countless entities characterized by iconographies of varying complexity. These are evoked during rituals that are sometimes esoteric, carrying moral or philosophical significance. Although the relative importance as well as the hierarchy of these deities diverge from one religious order to another, above them is a supreme Buddha, whose essence embodies the essence of all buddhas. Depicted here is Vajradhara, who presides over the monks of the Sakya order, amongst others. With both palms crossed over the chest, he holds his two characteristic attributes, the vajra (thunderbolt-diamond) and the ghanta (bell). The shape of the vajra is reminiscent of a diamond sceptre. The purity, clarity, and indestructible nature of this gemstone demonstrate the reason it became an object of much fascination in tantric Buddhism. The deity's feet are tightly crossed, akin to a yoga pose. The immaculate craftsmanship of the jewellery adorning the figure is borrowed from stylistic forms that were initially developed in Northern India. Notably, two ascending floral peduncles surround the center of the floret tiara sitting above the forehead. This fashion of ornamentation is characteristic of Nepalese sculptures as well as those influenced by the Newar artistic tradition from around the 13th century onwards. On the base of the tiara is a sneering kīrtimukha mask. The knotted ribbons which snake around both sides of the head maintain the tiara in place. A pair of elegant armbands is illustrated on either arm with a large floret replicating those on the tiara. The deity wears three necklaces, each of varying shape and size. The length of the second necklace ends at the pectoral region and is largely hidden from view behind the vajra and the ghanta. A scarf, reduced to the form of a simple ribbon with intricate blossom motifs, encircles the arms, and billows around both shoulders in an elegant swirl, emphasised by a pair of turquoise gems. Small floral pendants hang from the sash around his waist. At the front, a fall of pleats interwoven around the crossed ankles opens out at calf level. The slight inclination of his head to the right suggests that the deity had once been accompanied by another statue, that of his consort, the goddess Vajradhātvīśvarī. His facial features are characteristic of Nepalese sculptures. As described in canonical texts, these youthful traits are those of an adolescent, including the 'beauty folds' marking the neck. A small dimple indents the chin and the lips curve up in a slight smile. Wide arched eyebrows frame his small almond-shaped eyes. On his forehead, the ūrṇā is represented by a rectangular turquoise, accentuating the precious value of the deity. The monumental size of the figure implies the likelihood of its veneration in a chapel. In the Kathmandu Valley, chapels are small rooms situated at the end of the courtyard in monasteries. The abundance of copper mineral along the Kathmandu Valley has for centuries fostered the development of a diversified metalcraft industry, including in the city of Patan. Despite being part of a Buddhist sub-caste, bronze artisans in Newar society accommodated the different religious and iconographic prescriptions of their clients. Their excellent craftsmanship warrants the exceptional popularity and influence their works gained in Tibet or abroad-reaching Beijing from the 13th century onwards. The impeccable gilding that is achieved using an amalgam of mercury, as well as the frequent use of inlaid fine stones, gave the statues an esteemed presence. One may only imagine how they glowed beneath the scintillating luminosity of butter lamps in temples and chapels, enhancing the sanctity of these spaces. Gilles Béguin January 2024 銅鎏金金剛總持像 尼泊爾 馬拉王朝早期 十四世紀 著錄 Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha：2000 Years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年，頁336，編號 141 展覽 「Buddha：2000 Years of Buddhist Art，232 Masterpieces」，弗爾克林根，2016年6月24日至201