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Lot 29
A THANGKA OF SHADBHUJA MAHAKALA CENTRAL TIBET, TASHI LHUNPO STYLE, 19TH CENTURY
3 October 2017, 18:00 HKT
Hong Kong, Six Pacific PlaceHK$150,000 - HK$250,000
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A THANGKA OF SHADBHUJA MAHAKALA
CENTRAL TIBET, TASHI LHUNPO STYLE, 19TH CENTURY
Distemper on cloth; verso with gold Tibetan 'om, ah, hum' invocations behind each figure.
Himalayan Art Resources item no.100635
Image: 45 x 30 cm (17 1/4 x 11 3/4 in.);
With silks: 82.5 x 54 cm (32 x 21 1/4 in.)
Distemper on cloth; verso with gold Tibetan 'om, ah, hum' invocations behind each figure.
Himalayan Art Resources item no.100635
Image: 45 x 30 cm (17 1/4 x 11 3/4 in.);
With silks: 82.5 x 54 cm (32 x 21 1/4 in.)
Footnotes
Tashi Lunpo monastery, which was the Gelug Panchen Lama's seat of power, had a reputation for attracting the best artists from Central Tibet. While rendered with a later palette, the composition's high horizon line and emphasis on foliage among the figures in the sky are shared by a group of thangkas from Tashi Lhunpo gifted to the Qing Palace Collection (Gu gong bo wu yuan cang wen wu zhen pin quan ji; 59: Zang chuan fo jiao tang ka, Hong Kong, 2003, pp.158-67, nos.147-54). Also, the prominent symmetry, cloud forms fringing the horizon, and crown types with wide gaps between the central and side leaves, are characteristics of the Tashi Lhunpo style described by Jackson in The Place of Provenance, New York, 2012, pp.41-3. For further examples identified alongside the present lot, see HAR set no.2989.
Published
Armand Neven, Etudes d'art lamaïque et de l'Himalaya, Brussels, 1978, pp.26-7, no.11.
Pia and Louis Van der Wee, A Tale of Thangkas: Living with a Collection, Antwerp, 1995, pp.96-8, figs.45-6.
Exhibited
De Taal van de Thangka, Ethnographic Museum, Antwerp, 1995.
Provenance
The Van Der Wee Collection, Belgium, acquired in Brussels, 26 November 1965
六臂大黑天唐卡
西藏中部，扎什倫布風格，十九世紀
布本設色；唐卡背面以金色藏文在每人物對應處題"唵阿吽"三字符咒。
喜馬拉雅藝術資源網100635號
畫心：45 x 30釐米（17 1/4 x 11 3/4英吋）;
裝裱：82.5 x 54釐米（32 x 21 1/4英吋）
150,000-250,000港元
由格魯派班禪喇嘛掌管的扎什倫布寺享譽盛名，吸引了藏中技藝最高超的畫匠來此進行創作。此唐卡雖然顏色呈現晚期特色，但構圖體現扎什倫布寺風格，比如地平線位置較高，並且以枝葉裝點上方天空中的人物，清朝故宮收藏的扎什倫布寺唐卡亦帶有此些特徵（參見故宮博物院藏文物珍品全集：藏傳佛敎唐卡，香港，2003年，頁158-67，147-54號）。此外，作品的對稱形式、以雲層對地平線的勾勒、以及不等距分配的骷髏冠葉（中間緊兩側松），均符合Jackson在書中描述的扎什倫布風格，參見Jackson ，The Place of Provenance，紐約，2012年，頁41-3。其他相關範例請參見喜馬拉雅藝術資源網2989號。
著錄
Armand Neven， Etudes d'art lamaïque et de l'Himalaya，布魯塞爾， 1978年，頁26-7， 11號。
Pia與Louis Van der Wee， A Tale of Thangkas: Living with a Collection，安特衛普， 1995年，頁96-8， 圖45-6 。
展覽
De Taal van de Thangka，民族博物館，安特衛普, 1995年。
來源
范德偉夫婦私人珍藏，比利时，於1965年11月26日購自布魯塞爾