| 中文版 English

具体要求

其它要求

-
关闭
KRISHENKHANNA(B.1925)Pieta
美国 北京时间
2021年09月22日 开拍 / 2021年09月20日 截止委托
拍品描述 翻译
KRISHEN KHANNA (B. 1925)
Pieta
signed 'K Khanna' (lower left); further inscribed, signed and titled 'KRISHEN KHANNA / KKhanna / "PIETA" / oil on canvas' (on the reverse)
oil on canvas
40 x 30 in. (101.6 x 76.2 cm.)
Pundole Art Gallery, Mumbai Acquired from the above
拍品专文 The subject of the Pieta has long been a cornerstone in the cannon of European art, from Michelangelo to Vincent van Gogh. The iconic Christian image of the Virgin Mary lamenting the lifeless figure of her only son Jesus Christ is an inspirational image adorning churches across the world. The Pieta signifies a moment of immense sorrow and symbolizes the ultimate sacrifice in giving up a child. Krishen Khanna, who was introduced to Christianity and its stories as a child attending a Catholic school run by nuns in Lahore, is acutely aware of the religious and art historical significance of the subject and has engaged with this iconic trope in different ways throughout his career. As Gayatri Sinha writes, “From the late 1960s Khanna engaged in a series of paintings on Christ that start with The Last Supper, and Garden at Gethsemane and gradually culminate in Betrayal, Christ’s Descent from the Cross, Pieta and Emmaus […] The Christ paintings are often located against deeply coloured backgrounds which lend a warm emotive quality and an air of tight compression. Through a lack of physical detail, the paintings aspire towards a quality of timelessness” (G. Sinha, Krishen Khanna: The Embrace of Love, Ahmedabad, 2005, p.17). These works are Khanna’s modern homage to the European Masters, celebrating the potency of such sanctified images and the incredible emotional depth and charge of the instantly recognizable scene. However, after revitalizing and recontextualizing the Pieta in the 1960s, Khanna would return to the theme two decades later from an entirely different and unique perspective. In these later versions, of which the present lot is one, it is the humanity rather than divinity of the subjects that is emphasized. In this example, deprived of a halo, Christ lies lifeless, prone and pale, his limbs uncomfortably collapsed at his side. Khanna shocks the viewer by cropping out the neck and head of Christ as if to focus the attention on his mother and Mary Magdalene who stands behind her. The Virgin Mary looks despondent, yet is herself attempting to console the distraught Magdalene, who appears with her hands clasped over her face in anguish. With his focus on this emotional realism, Khanna highlights the fact that this kind of loss is sadly all too familiar for some people, most notably for the disenfranchised classes of society. Khanna, a resident of New Delhi, experienced a sharp rise in the population of poor migrant laborers in the city, and uses Christ as representative of the plight of these ubiquitous workers. Discussing this series, the artist noted, “The Christ series are set here in Delhi, Nizamuddin in fact, and appear as current happenings. He is wandering amongst us or sleeping with us followers on the road islands. They are not religious pictures as such. They deal with persecution and the consequences meted out to those who do not fit into ready-made slots, more so if the endeavor is to change a total view of life and not merely tinker with existing institutions. I painted Jesus, not in the image given by European painters, but as one of the fakirs one sees around Hazrat Nizamuddin” (Artist statement, C. Singh, ‘Looking Beyond His Canvas: Krishen Khanna’, The India Magazine, Vol. 4, No. 10, September 1984, p. 19). Pieta is a quintessential image of suffering, betrayal and redemption. Khanna’s Pieta transcends the Christian doctrine and creates an accessible image that anyone of any faith or belief can identify with. This is an image about loss and sacrifice and in the words of Richard Bartholomew addresses the ultimate "larger universal issues of freedom and exploitation, of cruelty and persecution" (R. Bartholomew, 'Attitudes to the Social Condition, Notes on Krishen Khanna', Lalit Kala Contemporary 24-25, New Delhi, September 1977 - April 1978, p. 34).

本场其它拍品

  • 竞价阶梯
  • 快递物流
  • 拍卖规则
  • 支付方式
竞价区间 加价幅度
0
10
100
50
500
100
1,000
200
2,000
250
5,000
500
10,000
1,000
20,000
2,000
50,000
5,000
100,000
10,000
+

价格信息

拍品估价:70,000 - 90,000 美元 起拍价格:70,000 美元  买家佣金:
落槌价 佣金比率
0 - 600,000 25.00% + VAT
600,000 - 6,000,000 20.00% + VAT
6,000,000 - 以上 14.50% + VAT
服务费:平台服务费为成交总金额(含佣金)的3%

拍卖公司

Christie's
地址: 20 Rockefeller Plaza New York
邮编: NY 10020
向卖家提问

小贴士

1. 一般拍卖公司接受的付款方式有以下几种:
现金、信用卡、转账汇款、银行支票、个人支票以及PayPal支付。
使用PayPal支付时,请留意需要在账单金额的基础上额外加上 4% 的手续费。
2. 信用卡的种类有以下几种:
3. 转账汇款时请注意银行手续费
海外拍企会要求足额到账,所以请您在汇款时,选择足额到账,或在汇款金额的基础上加上汇款手续费(如25美金)。
4. 国际转账汇款时, 您需要知道海外拍卖行以下汇款信息:
* 收款人名称
* 收款人地址
* 收款人银行账号
* 收款银行国际编码(8位字母数字组合,必填项, 如: BFKKAT2K)
* 收款银行清算码(9位数字组合,选填项)
* 收款银行名称
* 收款银行地址
5. 运输相关事项
有的海外拍卖行会替您安排和协调运输, 您只需要支付相关的运费及保险费(如您需要)即可;有的海外拍卖行会推荐几家长期合作的运输公司, 这些运输公司有着良好的信誉和高质量的工作效率,您大可放心。您只需要提供您的收货地址, 竞得拍品账单。 运输公司会根据您提供的信息给您报价, 您可以在其中选择最优的报价者来承担运输任务。然后就是付款了, 信用卡是最常用的支付手段, 当然还有其他像PayPal,转账等。
6. 进口通关可能出现的关税
国际运送的包裹在进口清关过程中如需支付关税,需由包裹接受人(即买家)自行承担。 征收标准:具体征收标准和额度以海关通知和解释为准。
7. 禁拍拍品
海外拍卖会可能会出现中国法律禁止交易的物品,如枪支、管制刀具、象牙、犀角等;中国买家不得通过本平台参与上述物品的拍卖活动;任何情形下,买家均须对自己的竞拍行为独立承担责任。
服务热线:400-608-1178
查看全部小贴士