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A FINE SCROLL PAINTING OF THE ARHAT CHUDAPANTAKA, SHILIU LUOHAN, SIGNED DING GUANPENG, DATED 1741
奥地利
04月11日 下午5点 开拍
拍品描述 翻译
China. Ink, watercolors, and gold paint on paper. Mounted as a hanging scroll on a silk brocade frame.Finely painted with the arhat seated in meditation, his hands positioned in dhyana mudra above his lap, wearing ornate patchwork robes. Before him, an official presents a scepter, while below, a mythical lion lies on its belly, drinking from a lobed white marble basin, accompanied by a corpulent boy. The scene unfolds within a lush, verdant landscape of craggy rockwork and gnarled trees, enhancing the composition's depth and tranquility.Inscriptions: Lower right, 'painted by Ding Guanpeng in the autumn of the year of Xinyou during the Qianlong era [1741]'.Provenance: A private estate in Massachusetts, USA. Bonhams Skinner, Boston, 16 March 2021, lot 1368. A European private collection, acquired from the above.Condition: Good condition with minor wear. Creasing, minor soiling and browning of paper, little flaking and fading to pigments.Dimensions: Image size 128.5 x 65.5 cm, Size incl. frame 216 x 80 cmDing Guanpeng (active circa 1708-1771) was a Chinese painter who lived during the Qing dynasty. A native of Beijing, he worked from the later part of the Kangxi period to the mid-Qianlong era. At one point he studied oil painting under Giuseppe Castiglione. He was noted for painting people and landscapes, both in his own distinct style and by precisely copying the work of important masters. He spent about 50 years in the Palace Academy and painted at least 200 major works with his own hand.Chudapantaka is the eleventh of the Sixteen Arhats (Shiliu Luohan), brought to China, and later to Tibet, from India. He typically holds his hands in dhyana mudra and is often depicted with a lion or tiger nearby. A Sakya liturgical text states, 'On Vulture Peak Mountain is the noble elder Chudapantaka, surrounded by 1,600 arhats; homage to the One with the two hands placed in meditation.'The arhat paintings of the early Ming dynasty and subsequent periods owe much to the secular tradition of landscape literati painting in China, and break from the earlier Tibetan compositional practice of Buddhist paintings, in which deities and other important figures are set within a regimented and prescribed hierarchy. In most of the arhat painting sets, the main figures are set within lush landscapes, surrounded by craggy mountains, curving pine boughs, and flowing streams. In the tradition of Chinese literati paintings, nature and country life were seen as an escape from the intrigues of the court, a place where scholars could find the peace needed to write poetry, perform music, and develop ideas. It is no coincidence that the arhats of these early painting sets, figures who represented wisdom and enlightenment, were placed within the tranquil confines of a natural landscape.The Qing dynasty witnessed a revitalization of the cultural contacts between Tibet and imperial China, and the Manchu ruling class officially patronized Tibetan-style Buddhism in the capital of Beijing. This period also witnessed an explosion in the production of Buddhist art, particularly during the reign of the Qianlong Emperor (r. 1735-1796), thanks to innovations such as the printing press (for producing thangkas) and industrial molds (for producing sculptures). Stylistically, painting sets of the Sixteen Great Arhats from the seventeenth and eighteenth centuries continued to follow the early Ming style, with arhats set in Chinese-style landscapes.Literature comparison:Compare a related earlier Tibetan painting of Chudapantaka, dated early 17th century, in the Los Angeles County Museum of Art, accession number M.2005.154.4. Compare a related earlier Tibetan painting of the arhat Vahraputra, dated to the 15th century, in the Metropolitan Museum of Art, object number 1992.198. Compare a related earlier Tibetan painting of Chundapantaka, dated late 15th century, in the Rubin Museum of Himalayan Art, object number C2003.50.3.

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