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全球拍卖首页 > Christie's > 印度、喜马拉雅及东南亚工艺精品 > Lot 381
A PAINTING OF FOUR ARHATS
美国 北京时间
2019年09月12日 开拍 / 2019年09月12日 截止委托
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拍品描述 翻译
TIBET OR CHINA, 16TH CENTURY Image 29 3/8 x 15 ? in. (74.6 x 39.9 cm.); mounted 58 ? x 27 ? in. (148.6 x 69.9 cm.) The present painting, depicting four arhats (Chinese: luohan) set within a verdant landscape and accompanied by attendant figures, is part of a tradition of arhat painting sets with origins in both early Tibetan and Chinese Buddhism, and which achieved an extraordinary degree of syncretism between the two cultures in the early fifteenth century. Arhats were the original followers of the Buddha, or important monks who lived in the years following the Buddha’s death and helped to transmit his teachings, although there is little historical record for their actual existence (with the exception of Rahula, the Buddha’s son). Over time, it became canon for the arhats to be represented as a group of sixteen alongside the Buddha Shakyamuni, and two attendants, Hvashang and Dharmatala. The concept of the sixteen arhats is believed to have entered Tibet with Atisha (982-1054 CE), and was known in China as early as the Tang dynasty, when the Buddhist monk and painter, Guanxiu (832-912 CE) painted a well-known set of arhat paintings. The Chinese and Tibetan representations of arhats remained stylistically, and to a lesser degree, iconographically distinct from one another until the early Ming dynasty, when the socio-political upheavals following the end of the Mongol Yuan dynasty brought the Tibetan and Ming Chinese realms ever closer together. Important Tibetan lamas and dignitaries began traveling to the early Ming capital of Nanjing, presenting gifts to the emperor, who in return lavished expensive luxury goods and works of art for presentation to monasteries in Tibet. Among these exchanges, sets of sixteen arhat paintings are recorded as gifts. In 1407, for instance, the Fifth Karmapa, Deshin Shegpa (1384-1415) arrived in Nanjing with a set of sixteen arhat paintings as a gift for the Yongle emperor (r. 1402-1424), and in 1418, Shakya Yeshe, a Gelukpa lama, returned from the capital with, among other gifts, a set of sixteen arhat kesi (woven textile) thangkas. These examples were but two of numerous gift exchanges between the Chinese emperors and Tibetan lamas in the early Ming dynasty, which fostered a particularly vibrant and syncretic style of Buddhist art. The style of arhat paintings that evolved in the Yongle period owe much to the secular tradition of landscape literati painting in China, and break from the contemporaneous Tibetan compositional practice of Buddhist paintings, in which deities and other important figures are set within a regimented and prescribed hierarchy. In the earliest-known Yongle arhat paintings (of the few remaining, most reside in private collections but an almost complete group can be viewed on Himalayan Art Resources, www.himalayanart.org), 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 was 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 Yongle paintings, figures who represented wisdom and enlightenment, were placed within the tranquil confines of a natural landscape. In contrast to earlier Tibetan paintings, in which nearly all figures are depicted frontally, the arhats of these Yongle paintings are shown in various poses, some in three-quarter profiles. In appearance, the arhats are depicted either as youthful and idealized, with Chinese facial features, or as stereotypes of Indian figures, with dark skin, wizened visages, and somewhat grotesque features. In most cases, the arhats are accompanied by diminutive attendant figures, who present tribute or hold iconographic identifying attributes; this hierarchy of size between the important figures and their attendant figures was also prevalent in earlier Chinese literati paintings. The present painting is undoubtedly derived from the early Yongle sets of arhat paintings. It depicts four arhats set within a landscape replete with trees, bamboo, and pierced rocks painted in rich greens and blues in the traditional Chinese landscape manner. Two of the arhats are depicted in the “foreign” appearance, with darker skin and wizened features, and the other two are presented as youthful, Chinese types. Of the former, the figure at the lower left corner sits facing away from the viewer on a circular meditation stool (in Chinese, chandeng) made from lashed-together bamboo; such rustic and forms of furniture were considered appropriate for depictions of scholars in nature in Chinese literati paintings, and were as such equally suitable for representations of arhats. From a tall-necked bottle vase on a rock to his left emanates a whirl of smoke that leads to a coiled dragon; while most of the iconography of arhats is fluid, making it difficult to individually identify each figure, an eighteenth-century painting in the collection of the Rubin Museum in New York (acc. # F1997.17.16), illustrated on Himalayan Art Resources, item. no. 333, depicts nearly the same scene and helps to identify the figure as Kanaka Bharadvaja. In the present painting, the child at lower left recoils in fear from the ferocious dragon, while the wise arhat gazes on impassively, demonstrating his unshakeable determination. Directly above Kanaka Bharadvaja, an older arhat sits at a table or desk, his hands tucked into the sleeves of his robes. A book, a hand scroll, and various incense-burning vessels sit on the table before him, and a diminutive attendant holds up a jar of burning incense. Comparison with a Yongle-period painting of the arhat, Angaja, illustrated on Himalayan Art Resources, item. no. 99141, shows many similarities, although an exact identification is most likely impossible. The head of the arhat in the present painting is backed by a nimbus of the type common to Yongle-period arhat paintings. Above him, at the top of the painting, a younger arhat with Chinese features sits facing frontally on the trunk of a curving pine tree, his hands also tucked into his robes. Pine trees were commonly used in literati paintings, and were incorporated into arhat paintings; as durable and resilient trees, pines are often used as symbols of wisdom and longevity. Their gnarled and twisting trunks not only worked as pictorial devices for dividing the composition, but were also reminiscent of the coiled bodies of dragons, which were also symbols of longevity. In the present painting, the pine tree at top is perhaps not coincidentally juxtaposed with the dragon below, creating a visual synergy between the natural and mythical worlds. The figure at center right is also depicted in the youthful, Chinese manner, sitting languidly on a low platform not dissimilar to a form of Chinese furniture appropriately called a luohanchuang, or arhat’s bed. He is shown leaning on a three-legged arm rest of a type seen in Chinese art as early as the Song dynasty (960-1279 CE), and one that is generally reserved for scholars or officials. In its depiction of the idealized Chinese landscape and its incorporation of Chinese furniture and textile forms, the present painting demonstrates the suffusion of classical Chinese painting themes and styles into the language of Tibetan Buddhist paintings. Such works had a profound influence on Tibetan painting styles, particularly that of the Karma Gardri style, which were directly modeled on Yongle arhat paintings. More importantly, the present work demonstrates the interconnectedness of the Tibetan and Chinese societies during a time of great cultural exchange.

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价格信息

拍品估价：30,000 - 50,000 美元 起拍价格：无  买家佣金：
落槌价 佣金比率
0 - 150,000 25.00%
150,000 - 3,000,000 20.00%
3,000,000 - 以上 12.00%
服务费：平台服务费为成交总金额（含佣金）的3%

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