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国内拍卖首页 > Galerie Zacke > 第一天——精美的亚洲艺术、佛教与印度教 > Lot 0039
A PAUBHA OF ACHALA AND VISHVAVAJRI, LATE MALLA PERIOD, EARLY 18TH CENTURY
奥地利
2025年10月16日 开拍
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Published:1. Hugo Kreijger, Kathmandu Valley Painting: The Jucker Collection, Boston, 1999, p. 64, no. 19.2. Wisdom Publications, Tibetan Art Calendar, 1988, no. 11.3. Himalayan Art Resources, item number 77038.4. Himalayan Art Resources, item number 89057.Nepal. Distemper and gold on cloth. Superbly painted in vibrant pigments to depict Acala (Chandamaharoshana) kneeling in bhumavarudhajanukun, the right foot over Brahma and Shiva, while the left knee crushes the deities Indra and Vishnu, in a demonstration of the superiority of Buddhism. The light-blue deity holds a pasha (noose) in his left hand, while brandishing an upraised khadga (sword) in his right; wearing a skull-crown, bone jewelry, a garland of severed heads, and a bone apron over a tiger skin dhoti. He is joined in union (yab yum) with his consort Vishvavajri who holds a kapala and kartika aloft. She is naked but for bone jewelry, garland of skulls, and a skull-tiara which is flanked by flag-shaped motifs that came to be attached to crowns of deities from the seventeenth century onwards.All above a lotus pedestal within a flaming aureole before a simple dark landscape with the sun and moon in the sky above. At each of the four corners of the painting is depicted an emanation of Acala, while his spiritual father, the Buddha Akshobhya, is placed at the top of the flaming aureole.Provenance: The Jucker Collection, Ettingen, Switzerland. Sotheby's New York, 28 March 2006, lot 25. The Richard C. Blum and Senator Dianne Feinstein Collection of Himalayan Art, acquired from the above. Bonhams New York, 24 March 2024, lot 737, estimate of USD 80,000 or approx. EUR 71,000 (converted and adjusted for inflation at the time of writing). The Jucker Collection, put together lovingly over a period of forty-two years by Angela Jucker-Grunauer (1936-2017) and Dr. Ernst 'Mischa' Jucker (1918-2013) was perhaps the most formidable collection of paintings from the Himalayas that was unmatched for its breadth as well as depth, before it was sold in New York in 2006. Dr. Pratapaditya Pal, who knew the Juckers and their collection well, observed, “[w]hat is even more admirable is that when the Juckers began collecting, they had no paradigm to follow, especially for Newar paintings. Yet the instant bond that formed between this professional chemist and the religious paintings of Nepal and Tibet, clearly impinges on the mystical.” The Swiss couple began collecting Indian folk art and cloth paintings in the early 1960s. A research chemist at a large pharmaceutical company, Dr. Jucker visited Orissa in 1959 for a science conference, where he dined beside Prime Minister Jawaharlal Nehru. Their conversation on India's drug industry, religion, and culture piqued his interest. Soon after, he wandered into antique shops “hoping to find objects linked with the Indian tribal and rural people.” In one shop, he found “a small, strange painting on cloth” and bought it simply because he liked it; “This was our first Tibetan thangka and the beginning of our collection.” Over the decades, they traveled repeatedly to India, Nepal, and Sikkim. At Indira Gandhi's request, Dr. Jucker wrote on folk bronzes and thangka for the Illustrated Weekly, gaining recognition: “each time one of us […] came to India, folk-bronzes and thangka were waiting for us, and we had only to make our choice.” They collected for years and lived with their treasures for just over four decades. The late U.S. Senator Dianne Feinstein (1933-2023) and her husband Richard C. Blum (1935-2022) were married in 1980 and are widely known for their illustrious careers in politics and finance. Feinstein was the first female mayor of San Francisco and a United States Senator from 1992 until her death in 2023. Blum was an American private-equity investor and the Chairman and President of Blum Capital. A longtime advocate for human rights in the Himalayas, he founded the American Himalayan Foundation in 1981 and the Blum Center for Developing Economies at the University of California, Berkeley. He also served as Co-Chairman of the World Conference on Religion and Peace. The couple were held in great esteem for their philanthropy as well as their close connection and support for the Tibetan diaspora which was particularly informative when establishing their collection. Condition: Very good condition with expected wear, minor creasing, light soiling, expected minor flaking to pigments with associated small losses, the vibrant colors extremely well-preserved, possibly minuscule touch-ups, tiny losses at the margins, the frame with traces of use.Dimensions: Image size 71 x 56.5 cm, Size incl. frame 122 x 109 cmMounted and framed behind glass.Emblazoned against a halo of red and orange flames is Achala, who is illustrated in highest Yoga Tantras (anuttarayoga tantra). As such, Achala is also known as Chandamaharoshana and is regarded as the enlightened embodiment of truth, answering questions posed by his consort in the course of their sexual union. This same tantra also describes a host of retinue deities, four of whom are located at the corners of this painting: Yellow Achala of the South, Red Achala of the West, Green Achala of the North, and White Achala of the East. Furthermore, Achala's appellation as the Immovable One forms a connection with the Cosmic Buddha Akshobya, who is located at the apex of the mandorla. Although Achala's name as Chandamaharoshana reflects his terrifying nature as the Remover of Obstacles and the Destroyer of all Evils, he is portrayed here with relaxed brows and softened eyes in emphasis of his benevolent role.Acala (literally, “immovable”) is a wrathful manifestation of Manjushri, the bodhisattva of supreme wisdom, and, in Nepalese Buddhism, a manifestation of Chakrasamvara. He is popularly associated with magic, healing, and protection from disease. This painting is a visualization of the Chandamaharoshana Tantra, the meditational text devoted to Acala. With its intense colors, dynamic postures, and imposing scale, it ranks among the most powerful examples of sixteenth-century Nepalese painting. Crowned, jeweled, and wielding his sword, Acala cuts through the veil of ignorance. In his left hand he holds a vajra-tipped noose to catch the ignorant, while also gesturing in admonition. He is locked in sexual embrace with his consort, Vishvavajri. The pair visually expresses the bliss of enlightenment that can be achieved by the combination of wisdom and compassion.Literature comparison:Compare a closely related, earlier painting of Achala with his consort Vishvavajri, Kathmandu Valley, dated c. 1525-1550, formerly in the Zimmerman Family Collection, and now in the Metropolitan Museum of Art, object number 2012.456. Compare a closely related, earlier painting of Achala Chandamaharoshana, Nepal, dated to the 16th century, in the Walters Art Museum, accession number F.138, illustrated by Pratapaditya Pal, Desire and Devotion. Art from India, Nepal, and Tibet in the John and Berthe Ford Collection, p. 223, no. 129.

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