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THREE THANGKAS ON CLOTH, Nepal-Tibet, 20th Century The first thangka depicts an eight-armed green tantric deity as Samaya Yogini seated at the center, surrounded by numerous miniature gurus and protective deities floating amidst clouds and a ro
爱尔兰
06月24日 晚上6点 开拍 /3天3小时
拍品描述 翻译
THREE THANGKAS ON CLOTH, Nepal-Tibet, 20th Century The first thangka depicts an eight-armed green tantric deity as Samaya Yogini seated at the center, surrounded by numerous miniature gurus and protective deities floating amidst clouds and a rolling green landscape, with a long inscription on the back; the second thangka features the primordial Buddha Vajradhara seated at the center among many deities, framed by a grid-like arrangement of numerous smaller mahasiddhas and tantric practitioners; the last dark-ground thangka depicts Shakyamuni Buddha surrounded by different tantric deities and wrathful protectors, with attendants leading horses painted along the bottommost register. Size. 68.5 x 49 cm; 52 x 42 cm; 69 x 51 cm Provenance: from the collection of a prominent former European diplomat Inscription Summary of the first Thangka features a traditional Tibetan consecration and dedication inscription written in Umê script. It opens with the sacred seed syllables (O? ā? Hū?) marking the body, speech, and mind of the deity, declaring the central image as the embodiment of all Buddhas of the three times. The main text contains a dedication prayer wishing prosperity, peace, and spiritual realization for the patron and their homeland, followed by potent mantras of the deities (including Vajrapā?i and the six-syllable Avalokiteshvara mantra). Crucially, the historical colophon notes that the thangka was commissioned to dedicate merit to a deceased or designated individual named Odzer Senge, and explicitly states that the consecration text was brushed by a local tantric practitioner (ngakpa) named Thollo Dorje, having been executed in the sacred Tsuglagkhang (the Jokhang Temple) in Lhasa. *This lot is sold without a reserve
Condition:Condition Report The first work is very damaged but features a long inscription on the back; the second piece is well-preserved with vibrant colors, showing only minor natural abrasion along the margins and grid lines; the final thangka shows significant signs of historical age and wear, including prominent creasing, areas of pigment flaking, and oxidized gilding, though the primary iconographic outlines remain entirely legible.

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