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AN IMPERIAL THANGKA OF SAMANTABHADRA China, Qianlong
英国
2023年05月18日 开拍 / 2023年05月16日 截止委托
拍品描述
AN IMPERIAL THANGKA OF SAMANTABHADRA
China, Qianlong
Distemper on cloth.
Framed and glazed. 117cm (46in) high x 74cm (29 1/8in) wide; including the frame 180cm (71in) high x 115cm (45 2/8in) wide.
清乾隆 御製普賢菩薩唐卡

Provenance: an Italian private collection

來源: 意大利私人收藏

The main deity occupying the central position, seated atop an elephant over an elaborate lotus throne, flanked by two masters of the Gelug tradition, identified by the inscriptions as Butui Sheng Zhanglao 不退聖長老 and Anyin Sheng Zhanglao 暗隱聖長老.

The present thangka was likely painted in the Imperial Workshops of Beijing for the decoration of the Xumi Fushou Temple in Chengde, which was built outside the capital under the auspices of the Qianlong emperor and Changkya Rolpai Dorje, his Buddhist preceptor.

Xumi Fushou Temple was built as a replica of the Tashilhunpo Monastery, for the sixth Panchen Lama's visit to China to celebrate the Qianlong emperor's seventieth birthday (1780). Like his grandfather before him, the Kangxi emperor, Qianlong recognised that the arrival of the revered Panchen Lama to Chengde demonstrated enormous political and religious power in the eyes of the Mongol khans, who were devout Tibetan Buddhists, and who would also be in attendance at the emperor's birthday celebrations. As an outstanding gesture of good will and a grandiose display of his power, the emperor aimed at replicating the Tashilhunpo Monastery, seat of the Panchen Lama in Tibet, in the summer retreat of Chengde, close to the Mongolian borders. The resulting temple was filled with countless paintings, sculptures, and other ritual objects which were made in a style that flourished during the 18th century as a result of the cultural interchange between China, Mongolia and Tibet.

The intricate textile designs, the exquisite gold work throughout, the jewelled mandorla, the pastel palette and vaporous ruyi clouds, noted on the present lot, are all features associated with the paintings produced for the Ximu Fushou Tample. See, for example, a thangka of Ratnasambhava, 18th century, from the Xumi Fushou Temple, in the Asian Art Museum of San Francisco, acc.no.B83D6, and a thangka of Sitatapatra, 18th century, in the Museum of Asian Art, Philadelphia, acc.no.1959-156-4.

The style and format of the present lot also closely compare with a thangka of Ksitigarbha, 18th century, also attributed to the Xumi Fushou sets, formerly in the collection of the Metropolitan Museum of Art, which was sold at Christie's New York, 12 September 2018, lot 230. Here, close similarities can be noted in the princely appearance of the central figure, backed by multi-coloured rays, seated atop a white animal on a lotus throne elaborately decorated with golden designs on a royal blue ground; note also the similar way of rendering the green cliffs and ornamented trees flowing into the body of water, and the cluster of jewels laid before the central figure, which reflect a Tibetan influence.

Samantabhadra is a Bodhisattva associated with practice and meditation. Together with Shakyamuni Buddha and the Bodhisattva Manjusri, he forms the Shakyamuni Triad in Mahayana Buddhism. According to the 'Avatamsaka Sutra', the deity made the ten great vows which are the basis of a Bodhisattva. In Chinese Buddhism, Samantabhadra is known as Puxian. He is frequently seated atop an elephant; he is associated with action and can hold a variety of different attributes such as a vajra sceptre, book, parasol, vase, jewels and others.

Compare with a further thangka of Cittavisramana Avalokitesvara, 18th century, painted in the Forbidden City by monk painters, illustrated by T.T.Bartholomew, 'Thangkas of the Qianlong Period', in J.Casey Singer and P.Denwood, Tibetan Art: Towards a Definition of Style, London, 1997, p.116, pl.99.

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价格信息

拍品估价:20,000 - 30,000 英镑 起拍价格:20,000 英镑  买家佣金:
落槌价 佣金比率
0 - 20,000 27.50% + VAT
20,000 - 700,000 26.00% + VAT
700,000 - 4,500,000 20.00% + VAT
4,500,000 - 以上 14.50% + VAT

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