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A THANGKA OF SCENES FROM THE LIFE OF MILAREPA EASTERN TIBET, 18TH CENTURY
香港 北京时间
2021年04月21日 开拍 / 2021年04月19日 截止委托
拍品描述 翻译
The Nyingjei Lam Collection A THANGKA OF SCENES FROM THE LIFE OF MILAREPA EASTERN TIBET, 18TH CENTURY Himalayan Art Resources item no.68329 108 x 63.5 cm (42 1/2 x 25 in.) 注脚 藏東 十八世紀 密勒日巴傳記唐卡"Of Marpa's four main disciples, it was Milarepa (1040–1123) and the lineages that grew out of his teachings that have played the most significant role in the development of the Kagyu tradition. Milarepa is an important figure not simply within the Kagyu school, but throughout Tibetan society. He represents the romantic ideal of the search for enlightenment... He is a vivid example that no matter how hard the road to realization, it can be travelled, and within a single lifetime." (Dinwiddie (ed.), Portraits of the Masters, London, 2003, p.144) The story of Milarepa's life has a powerful message of transformation. As a young man, Milarepa engaged in the 'dark arts' to inflict pain and suffering on his family members in revenge for their ill treatment of him. But after realizing the harm caused by his actions, he turned to the Dharma and sought refuge with the famed Tibetan teacher, Marpa (1012-97). After a long and painful process, Milarepa transformed himself, thereafter drawing on his experiences to benefit others. The open composition of this thangka of Milarepa allows for a fluid reading of various scenes from the sage's life story. Seated on a promontory, Milarepa is surrounded by low undulating fields extending to the foreground, while his back is framed by an upper section of deep valleys and prominent mountainous crags. This use of landscape elements to divide the composition is also seen in a well-published thangka of the same subject in the Folkens Museum Etnografiska in Stockholm (Rhie & Thurman, Wisdom and Compassion, New York, 2000, p.369, cat.152). However, by contrast, the present example is exceptional for the dynamic and seemingly spontaneous flow throughout its narrative spaces. Closer formal comparisons can be drawn with the Palpung style of the late 18th century, illustrated in an Avadanakalpalata set (Bonhams, New York, 17 March 2014, lot 34) and an Arhat set (Bonhams, New York, 14 September 2015, lot 28). As noted by Dr. Pal, the present thangka displays "...a remarkably complex but lyrical orchestration of animated forms and multiple miniature vignettes in a harmonious composition" (Himalayas: An Aesthetic Adventure, 2003, p.249). The stories illustrated within the painting may be based on the One Hundred Thousand Songs of Milarepa, or the Life Story of Milarepa, or a mixture of both books. Some of them are identified by gold Tibetan inscriptions, while some are recognizable by the antics. At the bottom left corner, for example, the episode of Goddess Tseringma's attack is represented by depicting Milarepa surrounded by flames and besieged by demons of the mind. Slightly above, the peaceful scene of Milarepa speaking to a bowing man, Rechungpa, is identified by inscription as the Story of the Yak Horn. At the top of the composition, the passing of Milarepa is easily recognizable from the cremation scene on the left and the golden stupa and casket in the center. Milarepa's central portrait betrays the hand of a master painter. The sagging skin of his wizened face is effortlessly achieved with a few fluid lines and light shading. His white brows, beard, and hair (partly frizzy, partly straight), are treated with precision. Despite of his old age, Milarepa's body remains firm, with a defined musculature befitting a master yogi. His white, loose-fitting garment is brilliantly rendered with soft and thin outlines, reminding viewers of the 'inner heat' (tumo) he can generate from his cultivated yogic practice. This level of precision extends to the remainder of the painting, as seen in the vivid facial expressions and densely patterned garments afforded to every diminutive figure. Compare the quality and compositional clarity with another Milarepa thangka, possibly from the same set, that portrays the sage at a younger age (formerly in the Nalin collection: Kerin, Artful Beneficence New York, 2009, p.112, no.56; sold at Christie's, New York, 12 September 2018, lot 325). Published Pratapaditya Pal, Himalayas: An Aesthetic Adventure, Chicago, 2003, p.248, pl.164. Exhibited Himalayas: An Aesthetic Adventure, The Art Institute of Chicago. 5 April – 17 August 2003; and Arthur M. Sackler Gallery, Smithsonian Institution, Washington, D.C., 18 October 2003 – 11 January 2004. Provenance The Nyingjei Lam Collection 菩薩道收藏, acquired in the 1990s On loan to the Ashmolean Museum, Oxford, 1996–2005 On loan to the Rubin Museum of Art, New York, 2005–2018 (L2013.2.9)

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