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A PORTABLE WOOD SHRINE WITH A PAINTED CLAY TSA-TSA OF GREEN TARA, GAU, 18TH-19TH CENTURY
奥地利
03月11日 晚上10点 开拍 /5天6小时
拍品描述 翻译
A PORTABLE WOOD SHRINE WITH A PAINTED CLAY TSA-TSA OF GREEN TARA, GAU, 18TH-19TH CENTURYThis lot is from a single owner collection and is therefore offered without reserveTibet. Carved with an overhanging roof above an open niche and a rectangular tiered base. Within the niche is a miniature polychrome clay tsa-tsa of Green Tara with a gilt aureole, seated in rajalalitasana, her face bearing a serene expression and her hair arranged in a high chignon.Provenance: Collection of Philippe Icher (b. 1956), French ceramic artist and collector, whose works are held in numerous renowned collections throughout Europe. His collection, assembled over several decades during his travels across Asia, includes Himalayan, Tibetan, and Nepalese artifacts that have profoundly inspired his artistic practice.Condition: Good condition with old wear, minor losses, and expected manufacturing irregularities. Tiny nicks, light surface scratches and remnants of pigments to the wood shrine.Weight: 80 g (incl. box) Dimensions: Height 3.8 cm (excl. box), 10.5 cm (incl. box)Green Tara, also known as Shyamatara, is venerated as a savior and liberator from samsara, the earthly realm of birth and rebirth. According to Buddhist mythology, Green Tara emerged from a lotus bud rising from a lake of the tears of Avalokiteshvara, shed for the suffering of all sentient beings. She embodies compassion in a dynamic form, hence the usual depiction of the goddess with right leg outstretched, ready to leap out to ease suffering. Her right hand is always held out in varada mudra, a gesture of compassion and charity, and the left hand in vitarka mudra, a gesture of teaching.Gau are sacred receptacles serving many purposes in Tibetan daily life, including as markers of social status and rank. They are most commonly constructed from metal repoussé, and in rarer cases from wood, and are made in three different sizes. The small and medium-sized gaus are portable, while the largest were often placed within a home or temple. All hold sacred and auspicious objects, including tsa-tsa, which can often be seen through a viewing window. As noted by Rhie and Thurman, they “…served as a site where the wisdom emanation of that enlightened being could be invoked and communicated with” (A Shrine for Tibet, New York, 2009, p. 255).To Tibetans, creating tsa tsas is a spiritual practice that accumulates merit and fosters well-being. It is one of Vajrayana Buddhism's five preliminary practices, aimed at eliminating obstacles, purifying negativity, and generating positive energy. Practitioners often aim to create 100,000 tsa tsas in their lifetime. These sacred tablets are displayed in altars, stupas, prayer wheel niches, or holy sites and serve as protective amulets when placed in portable shrines (gau). Tsa tsas symbolize the Buddha's blessings and may include sacred substances, such as ashes or hair of revered figures, to enhance their spiritual potency.Literature comparison: Compare a closely related pressed loam tsa-tsa of Amitayus, Tibet, 18th century, in the Rijksmuseum, object number AK-MAK-198. Compare a closely related painted clay votive tablet of Amitayus, 14th century, 9.8 cm (high), in the Ferenc Hopp Museum of Asiatic Arts, Budapest, accession number 9607. Compare a related terracotta tsa-tsa of Buddha, 7 cm (high), in the Musée des Beaux-Arts Salies.

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拍品估价:300 - 600 欧元 起拍价格:150 欧元  买家佣金: 30.00%

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