Null Buddha in stone H35

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Buddha in stone H35

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Buddha in stone H35

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Estim. 600 000 - 800 000 EUR

STATUETTE D'USHNISHAVIJAYA EN ARGENT PARTIELLEMENT DORÉ ET ALLIAGE DE CUIVRE DORÉ TIBET CENTRAL, VERS XVIIE SIÈCLE Himalayan Art Resources item no. 1828 17.2 cm (6 3/4 in.) high Footnotes: A PARCEL GILT SILVER AND GILT COPPER ALLOY FIGURE OF USHNISHAVIJAYA CENTRAL TIBET, CIRCA 17TH CENTURY Published Amy Heller, Tibetan Art: Tracing the Development of Spiritual Ideas and Art in Tibet, 600-2000 B.C., 1999, p. 197, no. 105. Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 350, no. 148. Exhibited  Buddha: 2000 years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 —19 February 2017.  A Spectacular Ushnishavijaya In this superb c. 17th century sculpture from Central Tibet, the goddess Ushnishavijaya appears in her three-headed, eight-armed manifestation.1 She casts her central gaze downward to meet that of her devotees. Her right countenance is serene and similarly downward-cast. The left is fierce and powerful, with fangs exposed and eyes wide and unflinching. In Tibetan Buddhist practice, Ushnishavijaya is invoked to support long-life, purification, and enhanced well-being. Following traditional iconography for her representation, she holds the double vajra (vishvavajra) in front of her heart, an image of Amitabha Buddha in her upper right hand, the arrow, gesture of generosity (varada mudra), bow, and a gesture of protection (abhaya mudra) in the upper left hand. The left hand near her chest once held the sacred cord (pasha); the upward-turned hand in her lap a vase of immortal elixir.2 The body of the goddess is white, here beautifully represented by the silver in which she is cast. The cool metal is used to superb aesthetic effect, contrasting with the warm gold of the base, halo, and adornments and with the vibrant turquoise blue of her inset jewelry. Her faces were once painted, as is evident from the remaining traces of pigment. Traditional iconographic texts describe the central face as white, like her body, her right face as golden or yellow, and her left as red.3 The enhanced power afforded by the pigment can be seen in the fierce left face with its painted eyes. Commissions in silver, a rare and expensive material, were uncommon in Tibet. Another example is a c. 17th century Buddhist goddess in the Nyingjei Lam Collection.4 Like this example, the Nyingjei Lam eight-armed goddess has slender limbs, arranged elegantly around the torso. The lotus petals, halo, and other details in the Bonhams Ushnishavijaya are very similar to those in a c. 17th century sculpture of Ushnishavijaya in The Metropolitan Museum of Art, New York (fig. 1; 2007.75a, b). Moreover, its verso is so like that in The Metropolitan Museum Ushnishavijaya as to suggest the two sculptures share an as yet undetermined historical connection.5 More generally, the sculpture expresses elements of Nepalese taste, although it was commissioned for a Tibetan patron, evident in the choice of turquoise stones which were favored in Tibet. Features in the Speelman sculpture can also be found in works created in a famous workshop adjacent to Tashi Lhunpo monastery in Shigatse, Central Tibet. Indeed, the halo of flames surrounding Ushnishavijaya and her lotus base are very similar to those in a c. 17th century Chakrasamvara sculpture formerly in the Claude de Marteau Collection which bears an inscription confirming its connection with the Tashi Lhunpo workshop (fig. 2). The workshop, named Tashikitsel (bkra shis skyid tshal), was established during the tenure of the Fourth Panchen Lama, Lobsang Chökyi Gyaltsen (Blo bzang chos kyi rgyal mtshan, 1567-1662), very near to Tashi Lhunpo monastery. It was founded to cultivate excellence in the arts of making sculpture, painting, architecture, and textile arts and crafts. A few published sculptures bear the inscription 'Tashi Lima' ( bkra shis li ma ), recently understood to be an indication that the inscribed sculptures were made in this workshop very close to Tashi Lhunpo monastery.6 A literal translation of the term Tashi lima is 'Auspicious metal' but as Luo Wenhua has noted, its most specific meaning is 'Tashikitsel.'7 Jane Casey January 2024 1. See Marie-Therese de Mallmann, Introduction a l'Iconographie du Tantrisme Bouddhique, Paris, 1975, pp. 389-390 for discussion of her various forms. 2. The roughly contemporaneous gilt copper alloy sculpture of Ushnishavijaya in The Metropolitan Museum of Art (fig. 1) retains a fine cord connecting the upper left hand, threading through the bow, and falling into the left central hand. The Metropolitan figure still holds the vase of elixir in the lower left hand, as one envisions was originally held in the Speelman sculpture. 3. Mallmann, 1975, pp. 389-390. See also Himalayan Art Resources set no. 5924: https://www.himalayanart.org/search/set.cfm?setID=5924. 4. Published in David Weldon and Jane Casey Singer, The Sculptural Heritage of Tibet

Estim. 100 000 - 150 000 EUR

STATUETTE DU FONDATEUR DE L'ORDRE DRIGUNG KAGYU, JIGTEN SUMGON RINCHEN PEL, SUR SON TRÔNE, EN ALLIAGE DE CUIVRE DORÉ AVEC INCRUSTATION D'ARGENT TIBET CENTRAL, MONASTÈRE DE DENSATIL, XIIIE/XVIE SIÈCLE Himalayan Art Resources item no. 1821 18.1 cm (7 1/8 in.) high Footnotes: A SILVER INLAID GILT COPPER ALLOY ENSHRINED FIGURE OF THE FOUNDER OF THE DRIGUNG KAGYU ORDER, JIGTEN SUMGON RINCHEN PEL CENTRAL TIBET, DENSATIL MONASTERY, 13TH/14TH CENTURY Published Meinrad Maria Grewenig & Eberhard Rist (eds), Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, p. 392, no. 169. Exhibited Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 24 June 2016 —19 February 2017. Provenance Private European Collection Seated on an ornate throne is Jigten Sumgon Rinchen Pel (1143-1217), whose honorific appellation means, 'Precious One, The Protector of the Three Worlds'. He sits emulating the Buddha, as he holds the gesture referencing the proclamation of Gautama's enlightenment. Hearing the Kagyu master's name, Phagmodrupa (1110-70), Jigten Sumgon sought his dharmic teachings in the remote mountainous region, later to be known as Densatil. He became one of the earliest and most renowned practitioners under this guidance, extending the Kagyu lineage throughout Tibet. Donning a patchwork robe, Jigten Sumgon poignantly sits on a raised pedestal, in a double-entendre evoking Mt. Meru, the mountain at the center of Buddhist cosmology, and his own temporal seat of power as the founder of Drigung monastery and the Drigung Kagyu order in 1179. His order dominated the political landscape of Tibet in the late 12th and 13th centuries, enjoying great wealth and patronage. Through Jigten Sumgon's fame, the Drigung Kagyu's presence extended from a rocky mountainside in Central Tibet to eastern Tibet and as far west as India. According to his biography, images in Jigten Sumgon's likeness were produced in the thousands for disciples to carry with them as they traveled. In the early 13th century, his portrait appears as far west as Alchi (Jackson, Painting Traditions of the Drigung Kagyu School, 2015, p. 11, fig. 1.25). In many instances, painting and sculpture, he is immediately recognizable by his upright posture, athletic build, form-fitting monastic vest, tall forehead, and receding hairline (e.g., ibid., pp. 86 & 90, figs. 5.9 & 5.13A). This gilded portrait is among very few examples of Jigten Sumgon to be preserved with the original stepped-throne and decorative back-plate inlaid with semi-precious stones. Two other examples are located in Musée Guimet, Paris (fig. 1; MA 6032) and the Potala Palace, Lhasa (Jackson, 2015, p. 89, fig. 5.12). All three sculptures likely survive from Densatil rather than Drigung, which was razed to the ground in 1297. Lama portraits were part of the iconographic program of Densatil's famed tashi gomang stupas, on which several seated on similar thrones were photographed in 1948 (Czaja & Proser, Golden Visions of Densatil, 2014, p. 39, fig. 15). Portrait bronzes were also placed on shelves in front of a stupa erected for Jigten Sumgon at Densatil after his death in 1217 (ibid., p. 34, fig. 14). As one of Phagmodrupa's two principal adherents, Jigten Sumgon, was instrumental in Densatil's founding. He served as the monastery's second abbot and for much of the late 12th and 13th centuries, Densatil and Drigung were considered 'correlated sees' (Henss, Cultural Monuments in Tibet, vol. I, p. 621). For the figures listed in this essay, please refer to our printed or digital catalogue. 銅錯銀鎏金直貢噶舉初祖吉天頌恭仁欽貝像藏中丹薩替十三/十四世紀著錄 Meinrad Maria Grewenig 及 Eberhard Rist 編，《Buddha：2000 Years of Buddhist Art，232 Masterpieces》，弗爾克林根，2016年，頁392，編號 169 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日來源歐洲私人珍藏端坐於華麗寶座之上的是吉天頌恭仁欽貝（1143-1217年），意名為「珍寶者、三界怙主」。如其手印所示，其姿態效仿佛陀宣告成道時的坐姿。仁欽貝在聽聞噶舉派大師帕摩竹巴（1110-1170年）盛名後，前往偏遠山區希求妙法，此地後稱丹薩替。他後來成為最早且最著名的帕摩竹巴座下修行者之一，並將噶舉派傳遍藏地。仁欽貝身著樸素福田衣，暗示其為佛陀的虔敬弟子；其身下高臺既象徵佛教早期宇宙觀中的須彌山，又暗指這位1179年直貢噶舉派創始人的威嚴法座。其教派在十二世紀末至十三世紀主導藏地的政治格局，享有巨大的財富和供養。直貢噶舉憑藉仁欽貝的聲望，自藏中之山區向東擴展至藏區東部，西則至印度。根據其傳記記載，人們製作了數以千計之仁欽貝像，以便弟子遊歷修行時隨身攜帶。十三世紀初，遙遠至西面的阿

Estim. 600 000 - 800 000 EUR

STATUETTE DE VAJRADHARA EN ALLIAGE DE CUIVRE DORÉ NÉPAL, DÉBUT DE L'ÉPOQUE MALLA, XIVE SIÈCLE 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 characterised 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 craftmanship 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 centre 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 craftmanship 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

Estim. 7 000 - 9 000 EUR

STÈLE DE BOUDDHA EN PIERRE NOIRE, Inde du Nord-Est, période Pala, circa Xe siècle Le bouddha auréolé, représenté debout sur une base lotiforme, vêtu d’un sampot, accompagné de deux divinités, deux stupa dans la partie supérieure H. : 43 cm (environ) (around 16 ¾ in.) l. : 25 cm (9 ¾ in.) Provenance : Collection particulière monégasque A black stone stele of Buddha, Nord-east of India, Pala period, circa 10th century 印度东北部约十世纪石佛碑 -2 MOA 24 -2 MOA 24

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