Null Batch of facials (1 binder and 1 folder), francs and euros

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Batch of facials (1 binder and 1 folder), francs and euros

47

Batch of facials (1 binder and 1 folder), francs and euros

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Estim. 2 000 - 3 000 EUR

Stone Age Polished Goddess Idol. Neolithic Period, circa 6th-4th millennium B.C. With rounded profile, stub arms and head without facial detailing, vestigial legs; accompanied by a custom-made display stand. Cf. Morris, D., The Art of Ancient Cyprus, Oxford, 1985, figs.114-115 pp.120-121, for similar idols. 635 grams, 15 cm (686 grams total, 16.5 cm including stand) (5 7/8 in. (6 1/2 in.)). From a collection acquired on the UK art market from various auction houses and collections mostly before 2000. From an important Cambridgeshire estate; thence by descent. Accompanied by an academic report by Dr Raffaele D'Amato. This lot has been checked against the Interpol Database of stolen works of art and is accompanied by search certificate number no.12087-217184. Most scholars consider these as symbols of the cult of fertility and evidence of the existence of a matriarchal society as a form of organisation of the earliest human society. The people of the Stone Age may have considered figures such as this to represent women and mothers with their life-giving powers, or as depictions of the ancestors. [No Reserve] [A video of this lot is available to view on Timeline Auctions Website]

Estim. 100 000 - 150 000 EUR

VASUDHARA STATUETTE IN GILDED COPPER ALLOY NEPAL, EARLY MALLA PERIOD, 14TH CENTURY Himalayan Art Resources item no. 1827 17.8 cm (7 in.) high Footnotes: A GILT COPPER ALLOY FIGURE OF VASUDHARA NEPAL, EARLY MALLA PERIOD, 14TH CENTURY Published Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 322, no. 134. Exhibited Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 -19 February 2017. Provenance Private Missouri Collector Sotheby's, New York, 18 December 1981, lot 21 Sotheby's, New York, 6 October 1990, lot 313 Greatly revered in the Nepalese Buddhist tradition, the goddess Vasudhara provides both spiritual and material prosperity. Boons of fertility, sustenance, wealth, and wisdom are represented in her hands with a water pot, sheaf of grain, strand of jewels, and the Prajnaparamita Sutra, respectively. Vasudhara's body, opulently adorned with jewelry, signifies her bodhisattva status - a conduit being traversing between her earthly existence and celestial body for the benefit of mankind. A principal deity that arose in tandem with the formation of Buddhist cults in Nepal, Vasudhara holds harmony in her aureole of arms and a warm expression of empathy and generosity. Modeled with supple forms and flexible gestures, sculptural depictions of Vasudhara reached an artistic denouement during Nepal's Early Malla period (13th-14th century). This sculpture's sensuous contours, gentle quietude, and luxurious ornament exemplify the Early Malla style. In Nepal, almost all female goddesses were depicted with round breasts, youthful bodies, and benign faces, a continuation of Indian aesthetics which held a long tradition of intertwining divine and sensual forms as compatible attributes. Evident in other examples of the goddess Vasudhara, these ritualized conventions of posture and expression are rarely deviated from. One of a similar period sold at Christie's, Hong Kong, 30 November 2020, lot 3012, shares similarly taut yet fleshy figural characteristics. In another example, a Manjushri of the same period (Bonhams, New York, 20 March 2018, lot 3203) with thin arching eyebrows resting over wide lids, a rounded chin, and pursed lower lip under the tip of the nose mirrors this Vasudhara's facial features with a beautified expression of quiescence.A third closely related example is held in the Cleveland Museum of Art (fig. 1; 1947.493). Of equal importance to the figural form is the minutia of inlaid semi-precious stones on all the adorning jewelry and implements. The earrings, lobes, pendants, clasps, and bands each feature an arrangement of opaque and translucent gemstones in colors of blue, green, turquoise, purple, and maroon. The crown type too, with a period-specific gemmed-roundel encompassed in a crescent and flanked by two jewel-encrusted lobes, is reflected in the crown of a standing Maitreya formerly of the Maitri Collection (Bonhams, New York, 20 March 2018, lot 3205). Here, distinctively setting the present example apart from other castings of the same period, the water pot, or 'treasure vase', that contains empowerments of long-life in Vasudhara's lap is lavishly ornamented with turquoise, garnets, and lapis. For the figures listed in this essay, please refer to our printed or digital catalog. 銅鎏金財源天母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322，編號134 展覽「Buddha：2000 Years of Buddhist Art，232 Masterpieces」，弗爾克林根，2016年6月24日至2017年2月19日來源密蘇里州私人珍藏蘇富比，紐約，1981年12月18日，拍品21 蘇富比，紐約，1990年10月6日，拍品313 財源天母賜予著信眾精神層面之富足與世俗生活之安逸，於尼泊爾佛教之傳統中尤受尊崇。其所應承之豐富：繁衍、豐饒、財富與智慧，皆由手持之寶瓶、穀穗、珠串以及《般若波羅蜜多心經》經卷所一一象徵。其周身裝飾以華麗珠寶，彰顯其菩薩之神格--穿梭於塵世之體與天人之靈之間，以賜福凡人。隨著佛教敬拜於尼泊爾之興起，財源天母亦成為一尊重要神祇，在這鬱鬱蔥蔥的山谷之中備受珍愛。其手臂伸展，如舞姿般的光暈，映襯著慷慨而柔切的溫暖面容。財源天母之造像于尼泊爾馬拉王朝早期（十三至十四世紀）達致藝術極致，身形柔軟，姿態靈動。豐滿有致的身體輪廓、寧靜柔和的神色與奢華的裝飾皆體現了馬拉王朝早期風格。幾乎尼泊爾所造之所有女神像都如此尊一般，乳房圓潤、體態年輕、面目溫良，延續著使天人神性與悅目感性交織在一起的印度美學傳統。觀其他財源天母造像便可知，這些已

Estim. 40 000 - 60 000 EUR

STATUETTE OF THE FIFTH SAKYA TRIDZIN, JETSUN DRAGPA GYALTSEN, IN GILDED COPPER ALLOY TIBET, XVE/XVIE CENTURY A Tibetan inscription around the rim of the base: རྗེ་བཙུན་གྲགས་རྒྱལ་ལ་ན་མ། Translated: 'Homage to Jetsun Dragpa Gyaltsen!' Himalayan Art Resources item no. 1815 18.1 cm (7 1/8 in.) high Footnotes: A GILT COPPER ALLOY FIGURE OF THE FIFTH SAKYA TRIDZIN, JETSUN DRAGPA GYALTSEN TIBET, 15TH/16TH CENTURY Provenance Sotheby's, New York, before 1976 This gilt bronze represents Jetsun Dragpa Gyaltsen (1147-1216), the Fifth Tridzin, or Throne Holder, of the Sakya order of Tibetan Buddhism.Dragpa Gyaltsen is quintessentially recognized by his shorn cut, groomed facial hair, and a full-sleeved layman's cloak.Like his father and older brother, Dragpa Gyaltsen was not a monk, though he spent most of his life in meditation, study, and teaching. Consequently, he is shown wearing a layman's long-sleeved garment underneath the meditation cloak draped over his shoulders. Regarded as the third of the Five Founding Fathers of the Sakya tradition (Jetsun Gongma Nga), Dragpa Gyaltsen is revered as a peerless tantric master, believed to have conversed directly with tantric deities while developing many of the Sakya's core teachings (Dinwiddie (ed.), Portraits of the Masters, 2003, p. 207). As his impact in the field of tantric theory and practice would never be surpassed in the Sakya tradition, he is often represented with the same attributes and pose-crossing the vajra and ghanta before his chest-as the Primordial Buddha Vajradhara, who is considered the divine progenitor of most tantric cycles. This splendid portrayal of Dragpa Gyaltsen comes from a set depicting the historical and legendary teachers of the Lamdre tradition. Also known as the Margapala Instruction Lineage and the 'Path within the Result', Lamdre is a system of tantric meditation, teachings, and rituals that became the Sakya order's foundational practice.Numerous portraits from this set are preserved in museum and private collections, including a figure of Virupa (Heller, Tibetan Art, 1999, p. 164, no. 89); Mahasiddha Avadhutipa (Zhang (ed.), Dependent Arising: Himalayan Art, 2017, pp. 124 & 260, no. 22); Drogmi Lotsawa Shakya Yeshe (fig. 1; Museum Rietberg, Zurich BA 226; Sachen Kunga Nyingpo (Arts of Asia, May - June 1998, advertisement); Sonam Tsemo (Huang, Studies on the History of gDan-sa-mthil Monastery of Tibet, 2016, p. 5); Sakya Pandita (Rubin Museum of Art, New York; HAR 65460); and Chogyal Phagpa (Christie's, New York, 15 September 2015, lot 91).Much like the following work, each of these bronzes is seated atop a circular base with wide, unfurling lotus petals and an inscription hammered in pointillé along the lower rim.Also noteworthy are the similar floral embellishments and piled folds of his clothes to that of the Sachen Kunga Nyingpo and Sonam Tsemo within this set. For the figures listed in this essay, please refer to our printed or digital catalog. 銅鎏金五世薩迦法王扎巴堅贊像西藏十五/十六世紀來源蘇富比，紐約，1976年前此尊鎏金銅像呈現傑尊 - 扎巴堅贊（1147-1216），為第五世薩迦法王，又稱座主。扎巴堅贊因其極為經典的整齊短髮、延伸至面部之髮鬚，以及俗家弟子之長袖衣袍而得以清晰辨認。如同他的父親和哥哥一樣，扎巴堅贊並非出家僧人，儘管他曾將一生中大部分時光用於冥想、學習和教學。因此，其觀想所披之外衣下見一件長袖俗家服裝。作為薩迦五祖之第三祖，扎巴堅贊被尊崇為無與倫比的密宗大師，據信他能夠直接與密宗神明交談，並發展了許多薩迦派之核心教義（見Dinwiddie編, 《大師肖像》，2003年，頁207）。由於扎巴堅贊於密宗理論和實踐領域之影響力在薩迦派中無人能及，他時常被呈現於原初佛金剛總持之姿態與法器--手中交叉金剛杵及金剛鈴。金剛總持被視為大多數密宗教法之神聖始祖，故可見扎巴堅贊之崇高地位。這尊華美的扎巴堅贊像出自一套呈現「道果」法脈歷史上及傳說中之偉大上師之造像組。「道果」法脈為一套包含密宗之觀想、教義和儀式之體系，為薩迦派之根本性實踐基礎。造像組之多尊現保存於博物館以及私人收藏之中，包括毘魯巴像（見Heller，《Tibetan Art》，1999年，頁164，編號89），大成就者阿瓦度帝巴像（《緣起--喜馬拉雅藝術》，2017年，頁124及260，編號22，卓彌釋迦益西像（圖1，蘇黎世瑞特堡博物館藏，編號BA 226），薩欽貢嘎寧波像（《Arts of Asia》，1998年5-6月刊，推廣頁），索南孜摩像（黃，《Studies on the History of gDan-sa-mthil Monastery of Tibet》，2016年，頁

Estim. 1 000 - 2 000 EUR

A GILT BRONZE FIGURE OF A RECUMBENT ‘LONGEVITY’ RAM, MING DYNASTY

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