Null Jain altar. Yellow cast. West India, Gujarat/Rajasthan. Dated 1492

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Jain altar. Yellow cast. West India, Gujarat/Rajasthan. Dated 1492 In front of a torana under a canopy supported by elephants, the jina Rishabhanatha sits in meditation on a lion throne with shrivatsa on his chest, flanked by yaksha and yakshi. He is surrounded by two seated and two standing jina and yak-tail bearers. On the pedestal in the center is the wheel of teaching, flanked by reclining gazelles and the nine planets (navagraha), at the corners adorants with hands in worship (anjalimudra). Silver and copper inlays. Inscription on the reverse dated samvat 1549 (1492). Weight 660 g. H 15.8 cm Provenance Private collection, Hesse

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Jain altar. Yellow cast. West India, Gujarat/Rajasthan. Dated 1492 In front of a torana under a canopy supported by elephants, the jina Rishabhanatha sits in meditation on a lion throne with shrivatsa on his chest, flanked by yaksha and yakshi. He is surrounded by two seated and two standing jina and yak-tail bearers. On the pedestal in the center is the wheel of teaching, flanked by reclining gazelles and the nine planets (navagraha), at the corners adorants with hands in worship (anjalimudra). Silver and copper inlays. Inscription on the reverse dated samvat 1549 (1492). Weight 660 g. H 15.8 cm Provenance Private collection, Hesse

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Estim. 800 - 1 600 EUR

A RED SANDSTONE FIGURE OF A JINA, 13TH-15TH CENTURY OR LATER A RED SANDSTONE FIGURE OF A JINA, 13TH-15TH CENTURY OR LATER Western India, Rajasthan or Gujarat. Carved standing upright in kayotsarga and with his feet together atop a lotus base, the arms hanging to his knees, completely nude, the face with downcast eyes below gently arched eyebrows, the mouth with full lips, flanked by elongated earlobes, surmounted by a high headdress decorated with pearls, backed by a halo, with two female adorant figures to the top and two flanking his feet. Condition: Good condition, commensurate with age, extensive wear, signs of weathering and erosion, losses, encrustations, and small repairs to the left hand and toe. Provenance: Austrian private collection. Weight: 42.8 kg Dimensions: Height 82.5 excl. base, 84 cm incl. base Mounted to a metal base. Jinas are depicted in only two poses: Kayostarga, standing, or dhyani, seated in meditation, and due to the identical poses and expressions they are distinguished mainly by their vahanas, or vehicles, appearing at the feet of the figures or carved on to the pedestals. In the present example, an exact identification of the Jina is not possible. However, Mahavira is the most commonly represented of the tirthankaras in the kayostarga attitude, and therefore an attribution seems appropriate. Another reasonable attribution would be the second tirthankara, Ajitanatha, whose emblem is the elephant, two of which are carved at the top of this stele. The earliest extant Jain images date to the first century C.E. and were created in the area around Mathura, the center of much religious activity. Jainism is India’s third great ancient religion and was founded contemporaneously with Buddhism, from which it differed by its advocating the attainment of a spiritual life through asceticism. This may account for the conventional depiction of tirthankaras in a rigid frontal pose. The term Jina, meaning “Conqueror” or “Victor of over Life” is applied to one who, like the Buddha, has attained perfect knowledge. Tirthankara meaning “He who has crossed the Ford” of rebirth and attained perfect freedom, is equivalent to Jina. In many respects, and more particularly in the seated poses, the Jina figure has many parallels to the Buddha image with the exception that, among the Digambara sect of Jains, the figure is always nude and the chest bears the srivasta. The nudity of Jain saints was a practice of both asceticism and their belief in non-possession, dating back to the days of Mahavira. However, a schism arose in around 79 C.E., extensively recorded in literature, about what constitutes total renunciation. At the time, Jain monks separated into rival factions, the Digambaras “clothed with the sky” or nude and the Svetambaras, “clothed with white”, who partially clad themselves with white cloth. According to inscriptions the Svetambaras worshipped the nude image without objection and for both sects the Jinas and the saint Bahubali are represented naked while all other deities are clothed and even ornamented. The present sculpture symbolizes mankind disregarding the material world and his animal nature. The figure is a human being transformed into a god-like state and the worship of it is not a two-way interaction but a meditation, where the deity is not expected to grant favors but rather to exemplify a state of being attainable by all. Literature comparison: Compare a related sandstone figure of a Digambara Jina, India, dating to the early 11 th century, 134.6 cm high, in the Philadelphia Museum of Art, accession number 1935-39-2.

Estim. 500 - 1 000 EUR

AN ARCHITECTURAL BRACKET DEPICTING A MOTHER GODDESS, GUJARAT, 18TH-19TH CENTURY AN ARCHITECTURAL BRACKET DEPICTING A MOTHER GODDESS, GUJARAT, 18TH-19TH CENTURY Western India. Carved an ploychromed wood. Dressed in flowing robes and adorned with two bell chains, a sash around her shoulders, holding a disc shaped instrument in her right hand, with wings stretched back, and four children playing at her back, the face with almond shaped eyes and surmounted by a crown, flanked by pendulous earrings, and painted in polychrome pigments. Provenance: A private collection in Vienna, Austria, acquired c. 1990-1995 in the local trade. Condition: Extensive wear, signs of weathering and erosion, natural age cracks, splits, losses, few nicks, and old repairs. Weight: 9.5 kg Dimensions: Height 82 cm Wood carving is the ancestral occupation of the Hindu Suthar community and is practiced in the districts of Patan and Ahmedabad. The legacy of exquisite wood carving is visible in the traditional havelis (mansions) in all districts of Gujarat, the earliest of which date back to the 16th century. Haveli structures from Patan are characterized by their eclectic use of geometric or floral patterns as well as motifs inspired by European and West Asian decorative elements on the woodwork of the balconies and ceilings. Whereas, the wooden architecture of Ahmedabad, acquires its distinctive aesthetic through the use of patterns borrowed from block printing and textiles. Literature comparison: Compare a related polychrome wood sculpture of a goddess, dated 17 th century, Gujarat, 90 cm high, in the Museum Rietberg, inventory number RVI 401.

Estim. 700 - 1 400 EUR

A PAINTING OF A GODDESS FROM A TANTRIC MANUSCRIPT, NORTHWESTERN INDIA, 18TH CENTURY A PAINTING OF A GODDESS FROM A TANTRIC MANUSCRIPT, NORTHWESTERN INDIA, 18TH CENTURY Ink and watercolors on paper, laid down on fabric. Depicting a female deity in the nude standing with her arms spread and feet apart, the palm of the feet and hands decorated with aalta, her body adorned with jewelry, the serene face with wide kohl-lined eyes and small lips under arched brows, the forehead marked with tilak, the hair elegantly falling down the shoulder. The verso with text in devanagari. Provenance: Galerie Suzanne Bollag, Zurich, Switzerland. Swiss private collection, acquired from the above. Galerie Jan Krugier, Geneva, Switzerland. A private collection in Geneva, acquired from the above. The reverse with two old labels from Galerie Suzanne Bollag and Galerie Jan Krugier, each titling the painting ‘Devi’ and confirming the dating above, and inscribed ‘J.K. 248’, ‘Devi’, and ‘18 th century. Gujarat. 8’. Suzanne Bollag (1917-1995) was a Swiss art dealer who has published the great names of classical modernism, including Max Ernst, Pablo Picasso, Yves Tanguy, and Joan Mir. She took part in Art Basel with her gallery for many years. Jan Krugier (1928-2008) was a Polish born Swiss dealer and a survivor of the Holocaust. Trained as an artist, he worked in the trade from 1953 and from 1962 with his own gallery in Geneva. In 1967 he opened a space in New York in collaboration with Albert Loeb. From the 1970s onwards he took over the representation of Marina Picasso's collection and built up his own art collection. Condition: Good condition with minor wear. Soiling, foxing, stains, and losses. Dimensions: Image size 18.5 x 9 cm, Size incl. frame 25.5 x 15.5 cm Literature comparison: Compare a related painting of a tantric goddess from a rare Kannada manuscript, in the collection of the Kannada department, University of Bangalore, photographed on 27 April 1987, under Chindananda Murthy. Compare a related painting of Purusha, with figures similar to the present lot, dated c. 1700, Rajasthan, illustrated by Ajit Mookerjee, Kundalini. The Arousal of the Inner Energy, p. 55.

Estim. 20 000 - 25 000 EUR

Parikara - Jain altar; India, South Rajasthan, Mount Abu; 10th-13th century. Marble with traces of polychrome. It has a pedestal made ex profeso. Measurements: 112 x 71 x 29 cm. Jainí niche intended to house an image of the victorious Jina. The piece made of marble presents symbolic and allegorical decoration. It is based on anthropomorphic and zoomorphic motifs that allude to futility. The piece that in spite of having an intricate ornamental pattern maintains a strict symmetry, still conserves part of the polychromy. The green, yellow and red tones that can be seen indicate the great expressiveness with which this work was originally conceived. Jainism, also known as Jain Dharma, is an Indian religion. Jainism traces its spiritual ideas and history through the succession of twenty-four tirthankaras (supreme preachers of Dharma), the first in the present time cycle being Rishabhadeva, whom tradition holds to have lived millions of years ago, the twenty-third tirthankara Parshvanatha, whom historians date to the ninth century B.C., and the twenty-fourth tirthankara Parshvanatha, whom historians date to the ninth century B.C., and the twenty-fourth tirthankara Parshvanatha Parshvanatha, whom historians date to the ninth century B.C.. Jainism is one of the oldest religions that is still practiced today. Mount Abu is home to several Jain temples, including the Dilwara temples, a complex of temples carved in white marble. These Jain temples were built by Vimal Shah and designed by Vastupala, Jain ministers of Dholka. They are famous for their use of white marble and intricate marble carvings.

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