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国内拍卖首页 > Galerie Zacke > 亚洲艺术集珍 - 第二天 > Lot 0283
A PAINTED WOOD 'CHITIPATI' RITUAL PELLET DRUM, DAMARU, TIBET, 18TH-19TH CENTURY
奥地利
04月17日 下午5点 开拍 /15天2小时
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The waisted double-sided drum finely lacquered with two bands of ribboned skulls encircling the sides, the drumskins tightly fitted and fully intact allowing for a good, deep sound to emerge from either side, the waist adorned with a textile strap decorated with floral motifs and embellished with cowrie shells, and two cords suspending leather striking pellets.Damaru drums were often sounded by rapidly turning them side to side, so the ends of the cords fly up to sound against the stretched skin, to interrupt phrases of recitation when it is necessary to summon certain deities. The rhythm of the damaru references the ongoing, relentless beat of time.Provenance: From a private collection in Hungary, acquired in Mongolia between 1962 and 1968, and thence by descent.Condition: Very good condition with expected wear, traces of use, manufacturing irregularities, light flaking to lacquer and minor losses, little rubbing, minor loose threads to textile. The textile strap possibly added later. Fine, naturally grown patina.Weight: 409.2 gDimensions: Diameter 18 cmPellet drums (damaru) are hourglass in shape with two opposite-facing drums and two striking pellets connected to the drum by a cord. The drums are often made from two human craniums connected at the point of the crown with a hole drilled to connect the two chambers of the drum, or from hemispherical wooden drums similarly joined together. The skulls are gathered from the charnel fields or reportedly bequeathed by the Buddhist monks themselves. They are never taken from living persons killed for the purpose of obtaining their skull. The drumheads or drum skins are made of stretched and sometimes painted animal hide, usually from goats, cows, or calves. Pellet drums in Tibet, Mongolia, and India are played by grasping it by its waist. When the hand is rotated back and forth, the pellets strike the drumheads to produce various rhythms. Tibetan pellet drums are often used in Tantric rituals and esoteric rites of exorcism.Skeletal imagery such as the present example can be likened to a memento mori, serving as a reminder of death and the impermanence and emptiness of all phenomena. Skull and skeleton imagery plays an important role in Tibetan Buddhist ritual and visual culture and appears prominently in charnel-ground symbolism associated with tantric practice. Skeletal masks are worn during Cham ritual dances throughout the Himalayas and Mongolia, sacred theatrical performances that visually communicate Buddhist teachings and transform the dancers into divine beings.Such imagery is closely associated with Chitipati, skeletal guardians of the charnel grounds revered in tantric Buddhism as powerful protectors. Chitipati are known in Sanskrit sources as Shmashana Adhipati, or Lord of the Charnel Ground, and commonly represented as a dancing skeletal couple. Closely connected with the Chakrasamvara Tantra, they are typically depicted as intertwined skeletons dancing amid a halo of flames while holding ritual attributes. As lords of the cremation grounds, they remind practitioners of the inevitability of death and decay while simultaneously expressing the possibility of spiritual liberation. A popular subject in Tibetan Buddhist art, the Chitipati appear widely in thangka painting, sculpture, shrine decoration, ritual implements, and the costumes worn during Cham ceremonial dances.Memento mori (Latin for 'remember that you will die') is an artistic or symbolic trope acting as a reminder of the inevitability of death. The concept has its roots in the philosophers of classical antiquity and appeared in art and architecture from the medieval period onwards. The most common motif is a skull, often accompanied by one or more bones, or a complete skeleton. Often this alone is enough to evoke the trope, but sometimes other motifs such as a coffin, hourglass and wilting flowers were added to signify the impermanence of human life.From Leonardo to Basquiat, the most important artists of the modern world were fascinated by the Memento Mori trope. Likewise, the Chitipati are a reminder of the eternal cycle of life and death. Furthermore, there is a mind training practice in Tibetan Buddhism known as Lojong, the 'Four Contemplations to Cause a Revolution in the Mind'. The second of these four is the contemplation of impermanence and death. In particular, one contemplates that:All compounded things are impermanent,The human body is a compounded thing,Therefore, death of the body is certain,The time of death is uncertain and beyond our control.There are a number of classic verse formulations of these contemplations meant for daily reflection to overcome our strong habitual tendency to live as though we will certainly not die today.Literature comparison:Compare a closely related Tibetan painted wood ritual pellet drum, dated circa 18th century, 18.4 cm diameter, in the Los Angeles County Museum of Art, accession number M.86.127. Compare a related Tibetan wood damaru, dated 20th century, 28 cm diameter, in the Metropolitan Museum of Art, object number 1980.340.7a, b.

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