| 中文版 English

具体要求

其它要求

-
关闭
AN ILLUSTRATION FROM A MAHABHARATA SERIES: ABHIMANYU IN THE CHAKRAVYUHA
美国
2023年03月22日 开拍 / 2023年03月20日 截止委托
拍品描述 翻译
folio 12 5/8 x 17 ? in. (32.1 x 44.5 cm.)
image 12 x 16 ? in. (30.5 x 42.5 cm.)
folio 12 5/8 x 17 ? in. (32.1 x 44.5 cm.)image 12 x 16 ? in. (30.5 x 42.5 cm.) Gloria Katz and Willard Huyck Collection; Sotheby’s New York, March 22, 2002, lot 67.Bonhams New York, March 19, 2012, lot 1190. PROPERTY FROM A DISTINGUISHED WEST COAST COLLECTION
拍品專文 The present folio belongs to a large format Mahabharata series attributed to the Kangra court artist Purkhu. Owing to the patronage of Maharaja Sansar Chand (r. 1775-1823) and the artistic direction of Purkhu (active c. 1780-c. 1820), Kangra is remembered as a great center of Pahari miniature painting. A skilled portrait artist, Purkhu is lauded for his distinguished and individualized portraits within his works, often noted for veering towards journalistic goals over idealized or fantastical qualities. His works documenting the public and private life of Sansar Chand are thus unsurprisingly rigorous in their attention to detail, and one can assume, loyalty to accuracy. Notwithstanding, Purkhu’s works on religious themes have proved his capability for innovation and passion, creating large series on the Harivamsa, Shiva Purana, Ramayana, Kedara Kalpa, Gita Govinda, and the present Mahabharata series.This battle scene represents the chakravyuha, a military formation resembling a spiraling labyrinth of artillery men meant to disorient and trap their opponent. Notably difficult to penetrate, only a handful of skilled warriors would have been able to counter the strategy . According to the Mahabharata, Arjuna’s son Abhimanyu learnt of the chakravyuha in his mother’s womb. Throughout gestation, he learned how to penetrate its many layers, but sadly, never heard how to escape. When the Kaurava army formulated the chrakravyuha attack against the Pandavas, only Abhimanyu was present. He fought his way through six tiers of the spiral, defeating many high ranking members of the Kaurava clan. However, once he reached the center, the surviving Kaurava commanders all attacked him simultaneously, ultimately exhausting and killing the young warrior. The death of Abhimanyu is narrated in the seventh book of the Mahabharata, canto 47.When writing on the chakravyuha painting from the N.C. Mehta collection, Khandalavala references a folio from the series in the collection of the National Museum, New Delhi, bearing an inscription referencing Sansar Chand and dating the work to 1803. The referenced folio, however, is apparently unpublished and has not been referenced elsewhere. A further page from this series is illustrated in W.G. Archer, Indian Paintings from the Punjab Hills, London, 1973, p. 225, no. 61. Archer points out that upon visiting with Maharaja Sansar Chand and viewing his painting collection in June and July of 1820, the explorer William Moorcroft (1767-1825) noted that ‘the principal portion consists of representations of the performances and prowess of Arjoon and the adventures of Krishna.” Aligning with the association to Sansar Chand, the series as a whole demonstrates strong characteristics from the workshop of the Kangra artist Purkhu. The large format of the painting, the principal figures being bigger than the less important ones, the distinctive heavy beards and large moustaches and the red and white Devanagari inscriptions hovering over each figure are all hallmark features of the artist’s atelier. A Garhwal Darbar stamp apparently on the reverse of a page from the series has perhaps contributed to similar scenes from this series having been attributed to the Garhwal school. However, it is quite apparent stylistically that the work stems from the Kangra kalam, and it has been speculated the series was brought into the Tehri Garhwal collection as part of the dowry of the two daughters of Sansar Chand, who wed Raja Sudarshan Shah of Tehri Garhwal.The chaotic and disorienting nature of the chakravyuha is highlighted by the changing colors of the backgrounds on every page. The intense battle continues on this series for many folios known to the market and public collections. A similar battle-field scene with Abhimanyu as protagonist is published in K. Khandalavala, Pahari Miniature Paintings in the N.C. Mehta Collection, two are in the Asian Art Museum, San Francisco (acc. nos. F2003.34.16.1 and F2003.34.16.2), and several have come to market at Sotheby’s New York, 15 December 1978, lot 180, Sotheby’s New York, 26 March 2013, lot 129, Christie’s London, 1 May 2019, lot 117, and more recently at Christie's New York, 21 September 2022, lots 434, 435 and 436.

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:30,000 - 50,000 美元 起拍价格:30,000 美元  买家佣金:
落槌价 佣金比率
0 - 1,000,000 26.00% + VAT
1,000,000 - 6,000,000 20.00% + VAT
6,000,000 - 以上 14.50% + VAT

拍卖公司

Christie's
地址: 20 Rockefeller Plaza New York
电话: +1 212 636 2000
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