| 中文版 English

具体要求

其它要求

-
关闭
A BLACKGROUND THANGKA OF PANJARNATA MAHAKALA CENTRAL TIBET, 18TH CENTURY
美国 北京时间
2023年03月22日 开拍 / 2023年03月20日 截止委托
拍品描述 翻译
A BLACKGROUND THANGKA OF PANJARNATA MAHAKALA
CENTRAL TIBET, 18TH CENTURY
Distemper on cloth with gold; verso with an "om ah hum" invocation in red Tibetan script.
Himalayan Art Resources item no. 61759
Image: 71 x 65 cm (28 x 25 5/8 in.);
With silks: 116 x 82 cm (45 3/4 x 32 1/4 in.)
藏中 十八世紀 寶帳大黑天黑唐卡

In the 18th century, blackground thangkas used for wrathful deities reached the height of their popularity and quality. Among them, this breathtaking example of Panjarnata Mahakala is of unsurpassed quality. Comprised of flawless details, exquisite lines, and brilliant colors, this thankga is a masterpiece of the blackground genre.

At the center of its composition, a powerful figure of Panjarnata Mahakala stands over a prone man before an aureole of coiling flames with bright red and golden hues. Panjarnata Mahakala, "Lord of the Pavilion", protects the tantric practice of Hevajra, a potent means through which an initiate can acquire Buddha-consciousness. The artist has depicted the protector's intimidating size and iconography with luxuriant detail among the tiny snakes, sumptuous jewelry, and hyper-realistic severed heads.

Floating on colorful clouds at the top are the first three founding patriarchs of the Sakya Order of Tibetan Buddhism. The first, Sachen Kunga Nyingpo (1092–1158), is at the center. The second, Sonnam Tsemo (1142-1182), is on the right. And the third, Dragpa Gyaltsen (1147-1216) is on the left. Panjarnata Mahakala is particularly revered by the Sakya, with Sachen Kunga Nyingpo considered one of the masters of the Panjarnata Mahakala teachings. Although diminutive to allow more space for Panjarnata Mahakala to dominate the composition, the three teachers are treated with painstaking attention. From the densely patterned textiles to the malas on their wrists, and from the knuckles on their fingers to each hair and wrinkle, the level of precision and realism remains constant.
?
Below the teachers, an array of rocky cliffs leads the eye through terrifying scenes from the cremation grounds. A jackal eats a man alive. A bull pierces a man's chest. A snow lion attacks growling tigers. And human flesh and skeletons litter the ground. Still the high level of painted detail resounds. The fierce imagery is furthered at the bottom, where Panjarnata Mahakala's two attendants, two-armed Ekajati and four-armed Shri Devi, guard the bloody offering of the five sense organs.

The painting might have been produced at Gongkar Chode near Lhasa, or an equivalent important Sakya monastery in Central Tibet; its painter demonstrates a mastery of multiple painting traditions, but the Khenri style predominates. Gongkar monastery is the main site for the surviving body of work by Khyentse Chenmo (fl.1450-90), the Khenri tradition's founder. Khenri stylistic features linking the wrathful deities depicted in Gongkar mural's to the present masterpiece include the manner of depicting Panjarnata's hair in spiralling buns and the rendering of the flaming mandorlas (cf.Jackson, A Revolutionary Artist of Tibet, New York, 2016, pp.65&96-7, figs.2.22&4.22-4). Also, the ravens carrying off human organs in this painting's top register may be directly inspired by Gongkar's Upper Protector's Chapel (ibid., p.70, fig.3.5).

However, emphatic of the syncretism of painting traditions that really blossoms in the 18th century, the painter also shows a mastery of the New Menri tradition in his brilliant rendering of the golden, jagged landscape. In fact, his treatment is significantly more sophisticated than a blackground thangka of Panjarnata Mahakala predominately in the New Menri style, held in the Rubin Museum of Art (HAR no.65004; Linrothe & Watt, Demonic Divine , New York, 2004, p.81, fig.2.28). Central Tibet in the 18th century witnessed tremendous prosperity and artistic patronage under solidified Gelug rule. This followed a turbulent 17th century in which the Fifth Dalai Lama Ngawang Lozang Gyatso (1617-1682) unified Tibet. His unifying strategies included an attempt to homogenize Tibetan visual culture. From a muddier amalgamation of painting traditions in the 17th century comes a resplendent crystallization in the 18th century, represented in this masterpiece's clean, sophisticated, flawless design and rendering.

Details such as Panjarnata Mahakala's charismatic skull crown with pendant festoons are shared by a painting of Shri Devi exhibited in Beijing in 2001 (see Jin We Bao Zang: Xizang Li Shi Wen Wu Xuan Cui, Beijing, 2001, p.106). The treatment of the flayed human skin hanging from Shri Devi's mule in the present painting's bottom right corner also compares closely with those on the Simhavaktra and Hayagriva illustrations of the Kangxi Kangyur in the National Palace Museum, Taiwan, dated to 1669 (see Sung (ed.), Om-mani-padme-hum: Tibetan Buddhist Art in the National Palace Museum, Taipei, 2015, pp.130-1). Another related painting of Panjarnata Mahakala, with similarly patterned scarf and ghandi stick, is held in the Victoria and Albert Museum (acc.no.IM.31-1937).

Compare this painting's magnificent quality with two other blackground thangkas representing the pinnacle of the genre. One is published in Rochell & Rossi, Masterpieces of Himalayan Art, New York, 2009, no.23. The other sold at Sotheby's, New York, 20 & 21 September, 1985, lot 158 and is now in the Museum der Kulturen, Basel (Essen and Tingo, Die Gotter des Hialayan, Munich, 1989, p.225, pl.138).

Published:
Ann W. Norton, Gods, Saints and Demons: Hindu and Tibetan Art, Storrs, CT, 1989, p.18, no.65.

Exhibited:
Gods, Saints and Demons: Hindu and Tibetan Art, The Benton Museum at University of Connecticut, Storrs, CT, 23 January - 12 March, 1989.

Provenance:
Belgian ambassador to China, early 20th century
Henri Kamer, New York, circa 1970s
Private New England Collection

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:200,000 - 300,000 美元 起拍价格:200,000 美元  买家佣金:
落槌价 佣金比率
0 - 25,000 27.50% + VAT
25,000 - 1,000,000 26.00% + VAT
1,000,000 - 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

Bonhams
地址: 580 Madison Avenue New York NY 10022
邮编: 10022
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