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A SMALL ZITAN FIGURE OF JAMBHALA TIBET, 17TH CENTURY
美国 北京时间
2022年09月21日 开拍 / 2022年09月19日 截止委托
拍品描述 翻译
A SMALL ZITAN FIGURE OF JAMBHALA
TIBET, 17TH CENTURY
2 7/8 in. (7.3 cm.) high

西藏 十七世紀 紫檀財神像2 7?8 in. (7.3 cm.) high Oriental Gem Co., 倫敦 1974年6月25日 John C. 與 Susan L. Huntington伉儷珍藏,俄亥俄州哥倫布市 Susan L. 與 John C. Huntington, 《Leaves from the Bodhi Tree: The Art of Pala India (8th-12th Centuries) and its International Legacy》, 代頓, 1990年, 頁362及363, 編號131 “喜馬拉雅藝術資源” (Himalayan Art Resources), 編號24768 代頓藝術學院, 代頓; 沃爾特斯藝術博物館,巴爾的摩; 紐瓦克博物館, 紐瓦克; 大衛和阿爾佛雷德斯馬特美術館,芝加哥, Leaves from the Bodhi Tree: The Art of Pala India (8th-12th centuries) and Its International Legacy, 1989年11月11日至1990年12月2日,圖錄編號112 THE JOHN C. AND SUSAN L. HUNTINGTON COLLECTION
拍品專文 This particularly charming and rare sculpture of Pita Jambhala, the Buddhist deity of wealth, exemplifies the superior craftsmanship of Tibetan carvers and demonstrates the tradition of figural woodcarving in India and Tibet. As the material of wood is less durable than that of bronze or stone, fewer sculptures in wood remain to this day. The present work is carved entirely from zitan, a hardwood from India that was exported to China in the late Ming and early Qing dynasties. While zitan is a general term which includes numerous species of wood, it is commonly agreed that it belongs to the genus Pterocarpus. A purplish-black, fine-grained hardwood, zitan was considered the most prized hardwood by the Chinese. The density of the wood makes this material especially suitable for fine and intricate carving. Due to its slow-growing nature, zitan often was only available in small quantities, and by the Qianlong period (1736-1795), its use was controlled by the emperor himself.Much of the zitan that came to China was used for furniture, as the hard grain of the wood made it resistant to splitting and swelling in changes of climate. Smaller quantities were used for boxes and other scholars’ accoutrement. Fewer works of sculpture in zitan are known, although the precious nature of the wood meant it would have been an appropriate material for an object of worship.The figure of Jambhala is seated in lalitasana atop a double-lotus base, his pendent foot extending below his body in a posture of royal ease. In his left hand, he holds a mongoose, signifying his power to bestow wealth and material requisites for anyone seeking to follow the Buddhist path. His right hand cradles a bijapuraka fruit in front of his chest, a symbol of abundance and enjoyment. The rotund body is adorned with simple ornaments and his head is topped with a three-leaf crown. His eyes are wide in an expressive gaze and picked out with paint to intensify the whites of his eyes, and his delicately rendered facial features convey a benevolent yet authoritative expression. A flowing silk ribbon frames his body elegantly, accentuating his figure.This form of Jambhala is particularly reminiscent of Indian figures of yaksha. Often confused with the Hindu god Kubera or the Buddhist Guardian King, Vaishravana, Jambhala’s rotund figure descends from ancient Indian yaksha figures. In visual iconography, the Hindu god Kubera, also a wealthy deity, and Jambhala are essentially identical, while Vaishravana can be easily distinguished by the presence of armor, among other things. The small size of this work meant that it might have been valued as a treasured personal object of devotion or consecrated in a traveling shrine. Compare the present work with another zitan figure of the arhat, Bakula, sold at Christie’s New York, 20 March 2019, lot 675.

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