We found 151070 price guide item(s) matching your search
There are 151070 lots that match your search criteria. Subscribe now to get instant access to the full price guide service.
Click here to subscribe- List
- Grid
-
151070 item(s)/page
Lot 193
Two original American political protest posters, 'Join The Army', photograph by Edmund Shea, 1967 American NewsRepeat Company, San Francisco, 71 cm x 55.5 cm, and 'Holy Dickies Prayer', a satirical anti-Vietnam war message, depicting Richard Nixon, designed by S.M. Dagenhart, the poem by Ian Boyden, Qty: 2https://collections.museumca.org/?q=collection-item/2010541098In good overall condition, having been stored in a roll tube for many years, some small scuffs to edges in places.
Lot 708
Two ‘The Champion Flyer Sets.’ In Michael Foster’s ‘British Toy Trains’ book 4 of 5, Champion Products Ltd of Birmingham is listed as issuing this item in July 1948. Here are two sets each with articulated two car passenger coaches, red (although differing shades). One set has provision for lighting. The locos differ: one is 6” long with a leading bogie and motorised on a single axle at rear; the other loco is 3 ¼ “ long, 4-wheeled and powered. Both locos silver fronts, remainder red as are the coaches – with silver roofs. ‘CPL’ transfers on sides of all locos & coaches. Track is all curves on a card base and approx. 5/8” gauge. Each set has a different power supply unit, voltage unknown, an advert states ‘battery powered.’ One set has base & lid, other set base only. Offered as seen
Lot 1683
A Yonezawa of Japan No. 2205 M-27 NASA Moon Explorer, comprising of red and white tin printed body, with blue plastic hand unit, complete with four legs and housed in the original card box, missing plastic antenna, otherwise an excellent example (box base with hole but doesn't detract from the overall item)
Lot 42
dating: Mid 19th Century provenance: Kutch, Heavy, wide, single-and-false-edged blade with a slightly hollowed and ribbed tip; decorated with gilded silver floral motifs on a granulated background at the first part and at the back. The base of the blade held by a beautiful hilt shaped as an elephant's head, gilded and decorated with green and red stones, as the cylindrical, bronze shaft decorated en suite and finely engraved with floral motifs. Lantern-shaped pommel with a turn-off, bud-shaped button containing a single-edged knife with silver-plated grip inside. Beautiful, gilded-silver scabbard with fine engravings, depicting matching floral motifs on a granulated background; the inner part made of wood and partially covered with red velvet. A small suspension ring. The name Bhuj probably derives from the name of the city of Bhuj, the former capital of Kutch, and today part of Gujarat. According to Elgood, the name Bhuj is unknown in Rajasthan or Deccan. Literature: Civita, 2014 'Islamic Arms and Armours from Frederick Stibbert's Collection', p. 78, illustration 73.'Islamic and Oriental Arms' by Robert Hales, see three Bhuj of this type on page 300 no. 720 (a-c), the one at the centre is partially decorated with coloured stones like our item, but all three are exceptional like our piece. length 52 cm.
Lot 70
Türkei - - (Diaz Tanco Vasco). Türckische Historien. Von der Türcken Ankunfft, Regierung, Königen, und Keysern, Kriegen, Schlachten, Victorien und Sigen, wider Christen und Heiden ... Item: Von der Türcken Religion unnd Gesatz, von irem Gerichts Proceß, von der gemeinen Türcken Leben ... Aus Italienischer Sprach ... verdolmetscht durch ... Heinrich Müller ... 2 Tle. (von 3) in 1 Bd. Mit 12 Holzschnitt-Portraits ottomanischer Sultane. Frankfurt a.M., (Rab u. W. Hans Erben), 1563 u. 1565. 51 nn., 1 w., 93 num., 3 nn. 118 num., 3 nn. Bl. Schweinsleder d. Zt. über Holzdeckeln mit Streicheisenlinien, Rollen- u. Plattenstempeln sowie 2 Metallschließen (berieben, angestaubt, etwas fleckig). VD16 D 1381 (Tl. 1, dort ohne Vorrede), VD16 D 1385 (Tl. 2 "Von dem Machometischen glauben"). - Tl. 1 (Titelauflage?) entspricht in Satz und Paginierung nicht der im selben Jahr erschienenen Erstausgabe VD16 D 1382. - Ohne den auf dem Titelblatt aufgeführten, 1565 erschienenen 3. Teil "Endtlich ist mit angehenckt von Ursachen der Christen verderben und wie man sich in solchen nöthen schicken soll" (VD16 D 1386). - Seltene Sammlung früher Schriften über die Landeskunde, Geographie und Geschichte des Osmanischen Reiches, ins Deutsche übersetzt von Heinrich Müller. - Diaz Tancos italienische Ausgabe "Dell'origine, et succossione dell'imperio de Turchi" war erstmals 1558 erschienen und "schildert die türkischen Kriege bis 1538. Sehr übersichtlich ist die politische Geschichte" (Göllner 873). Tl. 2, Menavinos "Cinque libri della legge, religione et vita de'Turchi" (1548) stellt einen "sachlichen, von allen Phrasen freien" Augenzeugenbericht dar (Göllner 883). - Die Holzschnitte im ersten Teil zeigen Porträts der türkischen Herrscher beginnend mit Soliman dem Ersten. - Vorsätze erneuert, Titel knitterig u. mit kl. hinterlegten Fehlstellen, verso mit Wappenstempel (der Herren von Lilgenfeldt? mit Leopard u. drei Lilien) u. hs. Vermerk von 1612, papierbedingt tls. stark gebräunt, erste 9 Blätter mit kl., tls. hinterlegter Wurmspur u. vereinzelt weitere kl. Hinterlegungen mit geringem Buchstabenverlust, 2 Blätter mit mehreren tls. hinterlegten Einrissen, Vorrede stärker, im folgenden nur tls. im Rand wenig wasserfleckig. With 12 woodcut portraits of Ottoman sultans. Blind tooled contemp. pigskin over wooden boards with 2 metal clasps (rubbed, dusty, somewhat stained). VD16 D 1381 (part 1, there without preface), VD16 D 1385 (part 2 "Von dem Machometischen glauben"). - Part 1 does not correspond in typesetting and pagination to the first edition published in the same year (VD16 D 1382). - Without the third part "Endtlich ist mit angehenckt von Ursachen der Christen verderben und wie man sich in solchen nöthen schicken soll" (VD16 D 1386). - Rare collection of early writings on the geography and history of the Ottoman Empire, translated into German by Heinrich Müller. - Diaz Tanco's Italian edition "Dell'origine, et succossione dell'imperio de Turchi" was first published in 1558 and "describes the Turkish wars until 1538. Very clear is the political history" (Göllner 873). Part 2, Menavino's "Cinque libri della legge, religione et vita de'Turchi" (1548) is a "factual eyewitness account, free of all phrases" (Göllner 883). - The woodcuts in the first part show portraits of the Turkish rulers beginning with Soliman the First. - Flyleaves renewed, title creased and with small backed losses, verso with coat-of-arms stamp (of von Lilgenfeldt? with leopard and three fleurs-de-lis) and autograph inscription dated 1612, partly heavily browned due to paper, first 9 leaves with small, partly backed wormholes and sporadically further small backings with minor loss of letters, 2 leaves with several partly backed tears, preface stronger, in the following only partially slight waterstaining in the margin.
Lot 101
ENSEMBLE DE TROIS COUPES KAPALASNÉPAL, DATÉES 1791 Himalayan Art Resources item no. 205085 14.5 cm (5 3/4 in.), the longestFootnotes:A GROUP OF THREE KAPALAS NEPAL, DATED 1791 尼泊爾 1791年 嘎巴拉供碗一組三件The skull-cup, or kapala, is typically either fashioned from the upper section of a human skull or a substituted material that bears its likeness. It is used as a libation vessel in ceremonial rites associated with various wrathful deities, dakinis, siddhas, and lineage holders. Another Nepalese example of this type, which connects two skulls flanking the head of a bodhisattva by a beaded sash, displays a copper interior lined with a gold rim (see HAR 41075). Also compare a similarly styled kapala in the Rubin Museum of Art (C2004.8.1a-b).Published:Gilles Béguin, L'Art Newar De La Vallée De Kathmandu, Paris, 1990, p. 78.Provenance:Collection Gérard Labre, ParisAcquired from the above in the 1990sFor further information on this lot please visit Bonhams.com
Lot 104
STATUETTE DE DAKINI EN BOIS MONTÉ SUR SOCLE ET MANDORLE EN ALLIAGE DE CUIVRE DORÉNÉPAL, VERS XVIIE SIÈCLE Himalayan Art Resources item no. 205052 12.5 cm (4 7/8 in.) highFootnotes:A WOOD FIGURE OF A DAKINI MOUNTED TO A GILT COPPER ALLOY BASE AND AUREOLE NEPAL, CIRCA 17TH CENTURY 尼泊爾 約十七世紀 木雕空行母像嵌銅鎏金座及背光This figure depicts one of the four Yoginis that reside within the center of either Chakrasamvara or Vajravarahi's mandalas: blue Dakini, green Lama, red Khandaroha, or yellow Rupini. Adorned by a flaming mandorla reflecting Nepalese designs from the Late Malla period, this retinue figure most likely occupied a sculptural mandala dedicated to Chakrasamvara and his female consort.See an earlier Tibetan copper alloy of the same retinue figure, sold at Bonhams, New York, 14 March 2016, lot 8, together with a similarly parcel-gilded figure of Naro Dakini with strong Nepalese characteristics in the Rubin Museum of Art (C.2005.16.47; HAR 65470).Provenance:Ashencaen and Leonov, London, 2000sFor further information on this lot please visit Bonhams.com
Lot 105
TANGKA À FOND NOIR REPRÉSENTANT LES OFFRANDES DE TORMATIBET, XVIIIE SIÈCLE Himalayan Art Resources item no. 205088 Image (sight): 57.3 x 37 cm (22 1/2 x 14 5/8 in.);Framed and glazed: 71.5 x 49.5 cm (28 1/8 x 19 1/2 in.) Footnotes:A BLACK GROUND THANGKA OF TORMA OFFERINGS TIBET, 18TH CENTURY 西藏 十八世紀 朶瑪供施黑唐卡This elaborate thangka (kangdze) depicts a torma offering in gold and gradated red pigment accompanied by various ritual objects and a retinue of wild animals, including a makara-faced dragon floating above a bed of clouds within the painting's upper register. Based on its iconography, the present work likely decorated the wall of a gonkhang, or a protector chapel, in possible dedication to a form of Paldhen Lhamo known as Magzor Gyalpo. Compare the composition of the following work to a painting in the Rubin Museum of Art (F1998.10.2; HAR 639), and another offering painting illustrated on black ground (HAR 4304).Provenance:Ashencaen and Leonov, London, 2000sFor further information on this lot please visit Bonhams.com
Lot 106
COUPE CRÂNIENNE KAPALA ET MANDALA À OFFRANDES EN ALLIAGE DU CUIVRETIBET, VERS XVIIIE SIÈCLE Himalayan Art Resources item no. 205084 The skull kapala 17 cm (6 3/4 in.) long; the stand 24 cm (9 1/2 in.) high, 27 cm (10 5/8 in.) wideFootnotes:A SKULL AND COPPER ALLOY INNER OFFERING KAPALA MANDALATIBET, CIRCA 18TH CENTURY 西藏 約十八世紀 銅質蓋座嘎巴拉碗 The practice associated with the inner offering mandala is a powerful tantric meditation involving purifying one's own defilements through the image of cutting off one's own head, making a bowl from the skull, and then drinking one's own blood and flesh. Related to the deities Chakrasamvara and Vajravarahi, purifying rituals are meant to prepare the practitioner for the transformative meditations of the completion stage of this tantric practice. The kapala which sits above a triangular base represents the skull-cup and the inner mandala within. The flat lid on top outlines the framework of the ninefold mandala format, articulated with the seed syllables written in both Tibetan and Chinese and of which are related to Vajravarahi and Chakrasamvara. The base here is covered in a turbulent arrangement of mountainlike crags and wavelike forms with two hanging banners on either side inscribed with mantras. The triangular base holding the skull-cup depicts flames emerging in concentric rays with outward facing heads at each of the three points. Compare to another kapala in the Essen collection which shows banners and a triangular base with three severed heads (Essen, Die Gotter de Himalaya, 1989, p. 271, no. 172) and another in the Ethnographic Museum, Zurich, (Henss, Buddhist Ritual Art of Tibet, Stuttgart, 2020, p.253, no. 317).Published:Ramon Prats, et.al., Monasterios y lamas del Tibet, Madrid, Fundación 'La Caixa', 2000, p.114, no.47.John Huntington, et. al., The Circle of Bliss: Buddhist Meditational Art, Los Angeles, 2003, pp.358-359, no.104.Exhibited:Monasterios y lamas del Tibet, Fundación 'La Caixa', Madrid, November 2000-January 2001.The Circle of Bliss: Buddhist Meditational Art Los Angeles County Museum October 05, 2003–January 04, 2004 and The Columbus Museum of Art, February 06–May 09, 2004.Provenance:Acquired in Geneva in 1980sFor further information on this lot please visit Bonhams.com
Lot 107
BANNIÈRE EN SOIE PEINTE REPRÉSENTANT L'OFFRANDE POUR SHADBHUJA MAHAKALA ET BEGTSE CHENTIBET, XIXE SIÈCLE Himalayan Art Resources item no. 205059 The embroidery: 337 x 65 cm (132 5/8 x 25 5/8 in.); With mounts: 359 x 89 cm (141 3/8 x 35 1/8 in.)Footnotes:A PAINTED SILK BANNER OFFERING FOR SHADBHUJA MAHAKALA AND BEGTSE CHEN TIBET, 19TH CENTURY 西藏 十八/十九世紀 彩繪絹本供獻六臂大黑天及大紅司命主掛幅This impressive and superbly drawn banner was created as Wrathful Offerings (kangdze) to Shadbhuja Mahakala and Beg Tse Chen. At the center of all the wrathful implements, vestments, and attire that are special to both wrathful deities is a torma offering and substances in three skull bowls at the base of Mt. Meru surrounded by horseshoe-shaped body of water. Located directly above is a row of offering goddesses presenting special tributes sheltered beneath a curtain of wrathful faces suspended by entrails held in the teeth of dried skulls. The lower register contains a host of horses, goats, yaks, wild dogs, bears, tigers, leopards, lions, snow lions, and ogres. These types of paintings would Commonly hung in the smaller protector temples of monasteries, these types of paintings represented tailored offerings to specific deities. Compare with a closely related example in the Rubin Museum of Art (HAR 877). Provenance:Ashencaen and Leonov, London, 2000sFor further information on this lot please visit Bonhams.com
Lot 108
STATUETTE DE VAJRADHAKA EN ALLIAGE DE CUIVRE DORÉDYNASTIE QING, XVIIIE SIÈCLE Himalayan Art Resources item no. 205031 10 cm (4 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF VAJRADHAKA QING DYNASTY, 18TH CENTURY 清 十八世紀 銅鎏金能食金剛像Vajradhaka is a purification deity originating from the Chakrasamvara cycle of tantras. Tilting his head back, he opens his gaping mouth to receive sesame seeds which fall through his body and into an incense pot containing burning coals. The rising smoke produced from these offerings is intended to clear the defilements of the practitioner, purifying them of all accumulated sins. Compare with an 18th century example sold at Bonhams, New York, 13 September 2011, lot 1069.Provenance:Spink & Son Ltd., London, 1990sFor further information on this lot please visit Bonhams.com
Lot 109
PAIRE DE CUILLÈRES À TISONNIER DE RITUEL DE L'OFFRANDE DU FEU EN ACIER DAMASQUINÉ ORTIBET ORIENTAL, DERGÉ, VERS XVIIE/XVIIIE SIÈCLE Himalayan Art Resources item no. 205012 79 cm (31 1/8 in.) and 68.5 cm (27 in.) highFootnotes:A PAIR OF GOLD DAMASCENED STEEL RITUAL FIRE-OFFERING LADELS EASTERN TIBET, DERGE, CIRCA 17TH/18TH CENTURY 藏東 更慶鎮 約十七/十八世紀 鋼鋄金火供勺一對 These ladles would have been used in tandem to make offerings during a home ceremony to the fire god, Agni. The round ladle scooped up melted butter which would have then been poured into the square ladle and offered through the spout onto the flames. The silver and gold inlay shows the fine quality of metalwork of the period and closely relates to another pair sold at Christie's, New York, 18 September 2013, lot 350 and an earlier set in the Metropolitan Museum of Art, New York (1993.477.1.2 and 1993.477.1.1a, b).Published:Ramon Prats, et.al., Monasterios y lamas del Tibet, Madrid, Fundación 'La Caixa', 2000, p. 122, no. 69.Exhibited:Monasterios y lamas del Tibet, Fundación 'La Caixa', Madrid, November 2000-January 2001.Provenance:Spink & Son Ltd., London, 1990sFor further information on this lot please visit Bonhams.com
Lot 110
PLAT D'OFFRANDE RITUEL ET SON TRÉPIED EN ACIER DAMASQUINÉ OR ET ARGENTTIBET ORIENTAL, XVE/XVIE SIÈCLE Himalayan Art Resources item no. 205027 The basin: 50 cm (19 3/4 in.) diam.; With stand: 67 cm (26 3/8 in.) highFootnotes:A GOLD AND SILVER DAMASCENED STEEL RITUAL OFFERING DISH AND TRIPOD STAND EASTERN TIBET, 15TH/16TH CENTURY 藏東 十五/十六世紀 鋼鋄金銀供盤及三足供架 Such refined metalwork with damascened silver and gold inlays such as this tripod draws association to the famed Chinese workshops of the early Ming dynasty and the foundries of Derge in eastern Tibet. The large flaming scroll along the exterior of the basin suggests that this object was used in fire-offering rituals relating to the Hindu fire god Agni. Tibetan fire rituals were used as a swift conduit between the worshipper and deity, with smoke acting as a means of purifying the obstructions to one's spiritual path. Published:Michael Henss, Buddhist Ritual Art of Tibet: A Handbook on Ceremonial Objects and Ritual Furnishings in the Tibetan Temple, Stuttgart, 2020, p. 267, no. 342.Exhibited:Remember That You Will Die, Rubin Museum of Art, New York, 19 March - 9 August 2010.Provenance:Nagel, Stuttgart, 8 November 2011, lot 1348.Astamangala, Amsterdam, 2000sFor further information on this lot please visit Bonhams.com
Lot 112
GRAND PLAT D'OFFRANDE RITUEL EN FER DAMASQUINÉ ARGENT ET CUIVRETIBET, XVIIE SIÈCLE Himalayan Art Resources item no. 205026 47.5 cm (18 3/4 in.) diam.Footnotes:A LARGE SILVER AND COPPER DAMASCENED IRON RITUAL OFFERING DISH TIBET, 17TH CENTURY 西藏 十七世紀 鐵鋄銀銅供盤 Conjuring charnel ground scenes by the alternating arrangement of silver and copper skulls on the outer rim, this impressively large dish likely contained banquet offerings for a gonkhang, or a small chapel dedicated to the ritual pacification of wrathful protector deities (Dharmapalas). Its attribution to Eastern Tibet is possible, given that the kingdom of Derge was well-known for damascening iron. Although not of the same shape, another dish with a footrim bears worthwhile comparison for its similar use of charnel ground imagery at the exterior of the rim (HAR 66778).Published:Natalie Bazin, Rituels tibétains: Visions secrètes du Vème Dalaï Lama, Paris, 2002, p. 167, no. 142.Exhibited:Rituels tibétains: Visions secrètes du Vème Dalaï Lama, Musée Guimet, Paris, 6 November 2002 - 24 February 2003.Provenance:Christie's, New York, 17 October 2001, lot 132For further information on this lot please visit Bonhams.com
Lot 113
TRÉPIED RITUEL EN FER DAMASQUINÉ ARGENT ET ORTIBET ORIENTAL, DERGÉ, XVE/XVIE SIÈCLE Himalayan Art Resources item no. 205044 98 cm (38 5/8 in.) highFootnotes:A SILVER AND GOLD DAMASCENED IRON RITUAL TRIPOD STAND EASTERN TIBET, DERGE, 15TH/16TH CENTURY 藏東 更慶鎮 十五/十六世紀 鐵鋄金銀三足供架 Tripod stands such as these had a multitude of purposes, as the illustrations in the Gold Manuscript from the Fournier Collection in The Secret Visions of the Great Fifth Dalai Lama reveal. The images depict tripods of this kind holding torma offerings, bumpas, kapalas, and in some cases show implements balanced on top of one another. Clearly used for tantric rituals and empowerment ceremonies, this tripod stand favors a style closely associated to the Ming court. Like other iron implements included in this sale in the damascened style of Eastern Tibet, the entire surface of the legs are covered in gold and silver inlays of scrolling foliate designs. The upper rim which would have held the offerings in place is trimmed in a geometric motif, while churning waves define the ends of the three cabriole legs. Wrathful faces are inlaid along the edges of the legs with the tops surmounted by three silver skull-heads, all of which indicate a conflated Tibeto-Chinese style. Tripod stands of this kind are known as early as the 9th/10th centuries as indicated from a painting from Dunhuang. Their use in ritual offerings is documented in paintings, as seen in a 14th-century painting of Amitabha which shows in the lower right corner the eight auspicious symbols atop tripods with a kneeling donor figure to the side (HAR 60680). Another iron and damascened tripod is illustrated in Thurman & Weldon, Sacred Symbols: The Ritual Art of Tibet, New York, 1999, fig. 66.Published:Natalie Bazin, Rituels tibétains: Visions secrètes du Vème Dalaï Lama, Paris, 2002, p. 167, no. 141.Exhibited:Rituels tibétains: Visions secrètes du Vème Dalaï Lama, Musée Guimet, Paris, 6 November 2002 - 24 February 2003.Provenance:Christie's, New York, 17 October 2001, lot 131.For further information on this lot please visit Bonhams.com
Lot 114
MIROIR D'ORACLE EN LAITON DORÉ ORNÉ D'ARGENT SUR SOCLE EN BOIS POLYCHROMEBOURIATIE, XIXE SIÈCLE Himalayan Art Resources item no. 205020 44.4 cm (17 1/2 in.) high overall; Mirror: 24.1 cm (9 1/2 in.) diam.Footnotes:A GILT BRASS SILVER-APPLIED ORACLE MIRROR ON A POLYCHROME WOOD STAND BURIATIA, 19TH CENTURY 布里亞特 十九世紀 銅鎏金飾銀護法鏡連木雕加彩底座 Mirrors such as these were used by Tibetan oracles in divination practices. Often presented at the center of these mirrors are seed syllables, or mystical sounds symbolizing the origin or causation of things. Cast in silver here is the sound for, 'HUM,' designed to invoke the principles of the enlightened mind. There are notable parallels between Tibetan oracles and Siberian shamans, particularly in their similar use of mirrors for divination. Buriat shamans wear copper plates with reflective surfaces called toli, which correspond to mirrors worn by Tibetan oracle priest around the chest (see Spink, Art of Buriatia, 1996, p. 546).Published:Spink & Son Ltd., Art of Buriatia: Buddhist icons from Southern Siberia, London 1996, p.46, no.47.Provenance:Spink & Son Ltd., London, 1996For further information on this lot please visit Bonhams.com
Lot 115
TANGKA REPRÉSENTANT L'ATTENDANT DE PEHAR GYALPO (NECHUNG CHOGYAL)MONGOLIE, XIXE SIÈCLE Himalayan Art Resources item no. 205095 Image: 72.5 x 52.5 cm (28 1/2 x 20 5/8 in.)Footnotes:A THANGKA OF PEHAR GYALPO'S ATTENDANT (NECHUNG CHOGYAL) MONGOLIA, 19TH CENTURY蒙古 十九世紀 白哈爾侍從唐卡Padmasambhava is flanked by two lamas in yellow pandita hats of the Gelugpa order with Hayagriva and Maitreya in the upper corners. The five aspects of Pehar Gyalpo surround the Nechung Chogyal while various monks and attendants occupy the landscape in the painting's midground. Pehar rose to prominence during the reign of the Fifth Dalai Lama, who elevated the deity's status from a Worldly Protector to that of principal protector deity within the Gelupa sect. In turn, Nechung Chogyal was recognised as the state's oracle. Thangkas that feature Nechung Chogyal in his peaceful human form are rare. A sculpture of this representation is preserved in the Potala Palace (HAR 9064) depicting his more common form with red skin (HAR 12547) with slight variations in his held attributes. Also, compare with early colored photograph of an Oracle in South-eastern Tibet in 1936 holding the same attributes (see Henss, Buddhist Ritual Art of Tibet: , Stuttgart, 2020, p. 219, no. 275.)Provenance:Ashencaen and Leonov, London, 2000sFor further information on this lot please visit Bonhams.com
Lot 121
STATUETTE D'AMITAYUS EN ALLIAGE DE CUIVRE DORÉTIBET, VERS XVIE SIÈCLE Himalayan Art Resources item no. 205029 12.5 cm (4 7/8 in.) highFootnotes:A GILT COPPER ALLOY FIGURE OF AMITAYUS TIBET, CIRCA 16TH CENTURY 西藏 約十六世紀 銅鎏金無量壽佛像Amitayus, the princely Bodhisattva of Infinite Light, sits cross-legged in dhyanasana on a wide-petal lotus base with a riverine pattern etched around the lower rim. His bare torso is adorned by large insets of turquoise while a voluminous lower garment falls elegantly over his legs and onto the base. Lastly, a diadem framed by small blossoms crowns his forehead and chignon. See another example that shares a type of wide lotus petal and a similar arrangement of jewellery, sold at Sotheby's, New York, 21 March 2019, lot 938.Provenance:Bonhams, London, 5 November 2014, lot 228.For further information on this lot please visit Bonhams.com
Lot 123
EMBLÈME DE CHITIPATI EN ALLIAGE DE CUIVRE REPOUSSÉ ET DORÉMONGOLIE, XIXE SIÈCLE Himalayan Art Resources item no. 205017 51 cm (20 1/8 in.) highFootnotes:A GILT COPPER ALLOY REPOUSSÉ CHITIPATI EMBLEM MONGOLIA, 19TH CENTURY 蒙古 十九世紀 銅鎏金錘揲屍陀林主法器This striking object which depicts flames spewing forth from the barred fangs of a skull face with a stylized trishula crowning the top, makes up part of a ceremonial staff. Another similar staff depicts the skeleton headed finial connected to the shaft (see Yixi, Quintessence of Returning Tibetan Cultural Relics from Oversea (Sculpture), 2012, pp. 128-9). Weapons such as these were depicted as implements held by wrathful protectors. The skeleton face would have served as a reminder of the inevitability of death, and the finial trident, as a means of destroying the three poisons of passion, aggression and ignorance.Provenance:Estate of M. Koeren (acquired in Asia during travels between 1950-63)Acquire from Luc Cammoot, Brussels, 2003For further information on this lot please visit Bonhams.com
Lot 124
TÊTE DE TRIDENT (TRISHULA) RITUEL EN ARGENT ET ACIER PARTIELLEMENT DORÉ ET INCRUSTÉ D'ARGENTTIBET ORIENTAL, XVIIE/XVIIIE SIÈCLE Himalayan Art Resources item no. 205004 50 cm (19 3/4 in.) highFootnotes:A SILVER AND PARCEL-GILT AND SILVER-INLAID STEEL RITUAL TRIDENT HEAD (TRISHULA) EASTERN TIBET, 17TH/18TH CENTURY 藏東 十七/十八世紀 銀及局部鎏金鋼錯銀三叉戟 The trishula has early origins related to concepts of trinity within the Vedic traditions and was the quintessential implement held by the god Shiva. In tantric Buddhism, it became linked as the magical weapon of Padmasambhava, illustrated in the crook of his left arm as a trident topped staff in his most iconic form as Guru Rinpoche.Trishula such as the one presented here, were first manufactured in the Tibetan style court ateliers of the early Ming emperors in China, and have a distinct style which includes gold overlay and inlay. Compare to a five-pointed fire flaming trishula which is partially gilt with golden overlays and a skull connecting the handle and prongs illustrated in Henss, Buddhist Ritual Art of Tibet, 2020, fig. 220. Similar examples can also be found in the Musee Guimet, Paris, (MA 5918), Sotheby's, New York, 22 March 1989, lot 252 and Christie's, Paris, 13 June 2013, lot 54.Published: Francois Pannier, La Danse Des Morts: Citipati De l'Himalaya, Danse Macabres et Vanites De l'Occident, Paris, 2004, p. 68, no. 36.Exhibited:La Danse Des Morts: Citipati De l'Himalaya, Danse Macabres et Vanites De l'Occident, Galerie le Toit du Monde, Paris, 15 September – 30 October 2004.Remember That You Will Die, Rubin Museum of Art, New York, 19 March - 9 August, 2010.Provenance:Spink & Son Ltd., London, 1990sFor further information on this lot please visit Bonhams.com
Lot 125
POINTE DE LANCE RITUELLE EN FER DAMASQUINÉ OR ET ARGENTTIBET ORIENTAL, DERGÉ, VERS XVIE SIÈCLE Himalayan Art Resources item no. 205002 67 cm (26 3/8 in.) highFootnotes:A GOLD AND SILVER DAMASCENED IRON RITUAL SPEAR HEAD EASTERN TIBET, DERGE, CIRCA 16TH CENTURY 藏東 更慶鎮 約十六世紀 鐵鋄金銀矛 This spear (Mdung Rtse) was an implement utilized by oracles, possibly for a ceremony or ritual. The blade has two flat sides with a medial ridge and rounded tip. Gold damascened decorations of flames are finely engraved into the blade. At the bottom of the spear is a circular rimmed base. Stylistically, the flame motifs on the blades, compare with an example sold in Christie's, New York, 29 September 2020, lot 10 and an example in The Metropolitan Museum of Art (2001.180) and Henss, Buddhist Ritual Art of Tibet, Stuttgart, 2020, p. 217, nos. 272 and 273.Published:Deborah Ashencaen and Gennady Leonov, Visions of Perfect Worlds: Buddhist Art from the Himalayas, Spink & Son Ltd., London, 1999 p. 69, no. 39.Provenance:Spink & Son Ltd., London, 1999For further information on this lot please visit Bonhams.com
Lot 127
BÂTON RITUEL EN FER DAMASQUINÉ ARGENT (KHATVANGA)TIBET ORIENTAL, DERGÉ, XVE SIÈCLE Himalayan Art Resources item no. 205010 44 cm (17 3/8 in.) highFootnotes:A SILVER DAMASCENED IRON RITUAL STAFF (KHATVANGA) EASTERN TIBET, DERGE, 15TH CENTURY 藏東 更慶鎮 十五世紀 鐵鋄銀喀章嘎天杖 This ancient ritual staff, known as a khatvanga, appeared in Hindu practices as early as the Gupta period (4th–6th century), and was incorporated into Vajrayana Buddhism no later than the 8th century. In Tantric Buddhism, the khatvangais considered the essence of Chakrasamvara, while also being associated with other Buddhist masters and protectors, including Padmasambhava, Mahakala, Hayagriva, and the dakini. It often serves in iconography to represent the opposite-gendered counterpart of a transformational deity (yidam) holding it. For example, as the principal attribute of Vajravarahi, the khatvangais always cast in the crook of her left arm, signifying her male counterpart Samvara (see a Pala period brass figure of Vajravarahi sold at Bonhams, New York, 16 March 2021, lot 305). Standalone khatvangas, such as the present lot, are typically used in empowerment rituals. Larger ones could also be placed on an altar and worshipped as sacred images (Henss, Buddhist Ritual Art of Tibet, 2020, p. 182). The present khatvanga is at once a remarkable piece of art and a ceremonial object of symbolic significance. Covered with brilliantly damascened silver spirals, its long octagonal shaft symbolizes the Eight-Fold Path to enlightenment. The shaft is surmounted by an exquisite 'thousand-petaled' lotus, below a finely modeled double-vajra (visvavajra). Above them, a long-life vase supports three stacked heads – the first freshly severed, the second decaying, and the third a skull. Each of the three finely detailed heads allude to the khatvanga'spower to destroy the Three Poisons: desire, aversion, and ignorance. The staff is finished with a five-pronged half-vajra on each of the two ends, symbolizing the Five Wisdoms. Compare to a closely related 15th-century khatvanga of identical size, published in Huntington et. al., The Circle of Bliss: Buddhist Meditational Art, 2003, pp.358-59, no.104 and another in the British Museum (Ramos Tantra, 2020, p. 132, fig. 93). The overall design and workmanship are also consistent with imperial ritual staffs from the Yongle period (1402-24); see a Yongle-marked khatvanga, damascened with both gold and silver, preserved at the Metropolitan Museum of Art, New York (fig. 2; 2015.500.6.28), and another silver-inlaid Yongle example at the Bodhimanda Foundation, Netherlands (V-232). Also see Christie's, New York, 21 March 2000, lot 106, and 22 March 1999, lot 108. Provenance:Suzi Lebasi, Tasmania, 2000sFor further information on this lot please visit Bonhams.com
Lot 131
STATUETTE D'HAYAGRIVA EN ALLIAGE DE CUIVRE REPOUSSÉ ET DORÉ POLYCHROMEMONGOLIE, XIXE SIÈCLE Himalayan Art Resources item no. 205038 47.9 cm (18 7/8 in.) highFootnotes:A POLYCHROMED GILT COPPER ALLOY REPOUSSÉ FIGURE OF HAYAGRIVA MONGOLIA, 19TH CENTURY 蒙古 十九世紀 銅鎏金錘揲加彩馬頭明王像This figure is known as the Secret Accomplishment form of Hayagriva, who is recognized by the three horse heads protruding from his flaming hair. After receiving direct instruction from Padmasambhava in a dream, Shangpa Kagyu Lama Kyergangpa (1154-1217) disseminated this form of Hayagriva throughout Tibet, where his iconography was later practiced in all of the schools of Tibetan Buddhism.Compare a six-armed Hayagriva in the Jacques Marchais Museum published in Lipton & Ragnubs, Treasure of Tibetan Art, New York, Oxford, 1996, p. 111, no. 47, and a Mahakala attributed to the Dolonnor workshop from The Maitri Collection of Indian, Himalayan & Southeast Asian Art, sold at Bonhams, New York, 20 March 2018, lot 3215.Provenance:Sebastian Barbagallo, London, 1980sFor further information on this lot please visit Bonhams.com
Lot 132
EPÉE RITUELLE EN ACIER DAMASQUINÉ OR ET ARGENTTIBET, XVE/XVIE SIÈCLE Himalayan Art Resources item no. 205022 64 cm (25 1/4 in.) highFootnotes:A GOLD AND SILVER DAMASCENED STEEL RITUAL SWORD TIBET, 15TH/16TH CENTURY 西藏 十五/十六世紀 鋼鋄金銀法劍 The flaming sword is a destructive and protective weapon symbolizing wisdom's transformative power to cut through ignorance. As a means of representing and attaining transcendence, this magical weapon at once deconstructs attachments to self, thereby transmuting conflict into wisdom. Like many tantric implements, its origins lay in Vedic mythologies, though once adopted into Vajrayana practice, it became largely associated with the discerning mind and wisdom practices of the bodhisattva Manjushri. The Tibetan artist's masterful iron smithing is on full display through the nuanced treatment of this sword, as the alternating application of gold and silver draws the viewer's attention towards the vajra finial located at the handle and the fiery edges of the hilt. Compare its dense, flaming design with the damascened gold of a ritual spear, illustrated in Henss, Buddhist Ritual Art of Tibet, Stuttgart, 2020, fig. 273. Published:Ramon Prats, et.al., Monasterios y lamas del Tibet, Madrid, Fundación 'La Caixa', 2000, p. 101, no. 16.Exhibited:Monasterios y lamas del Tibet, Fundación 'La Caixa', Madrid, November 2000-January 2001.Provenance:Spink & Son Ltd., London, 1990sFor further information on this lot please visit Bonhams.com
Lot 133
STATUETTE DE VAJRABHAIRAVA (EKAVIRA) EN TERRE CUITE ET BOIS POLYCHROMETIBET, XVIIIE/XIXE SIÈCLEHimalayan Art Resources item no. 205035 47 cm (18 1/2 in.) highFootnotes:A POLYCHROME TERRACOTTA AND WOOD FIGURE OF VAJRABHAIRAVA (EKAVIRA) TIBET, 18TH/19TH CENTURY 西藏 十八/十九世紀 彩陶木雕怖畏金剛像 When Yama, Lord of Death, was ravaging Tibet, the people invoked Manjushri for help. He assumed the form of Yamantaka (Conqueror of Death - also known as Vajrabhairava) and subdued Yama, making the latter a Regent of Hell. As the deputy of Manjushri, Vajrabhairava is known as the 'discerning protector'. In the Sakya tradition he is counted among the four main tantric deities along with Hevajra, Guhyasamaja and Chakrasamvara.Depictions of this solitary aspect of Vajrabhairava Ekavira, without a consort, are less common. An earlier example in polychrome wood in the Virginia Museum of Fine Arts (93.13A.00) dated to the 15th century, demonstrates the active tradition of creating deities in different media.Also compare to a bronze figure in the Hermitage Museum (HAR 31408) and another bronze with similar polychrome decoration in the Royal Ontario Museum (HAR 77546). Also compare with a related thangka of similar representation of Ekavira (HAR 59016). A close comparison can be found in a painted clay (terracotta) figure of Ekajata Rakshasi in the British Museum (Ramos Tantra, 2020, p. 160, fig. 116), both figures are of superior modeling with similar ornamentation and prominent flaming brows. Published:Ramon Prats, et.al., Monasterios y lamas del Tibet, Madrid, Fundación 'La Caixa', 2000, p. 94-5, no. 3.Gennady Leonov, Images of Dharma: One Thousand Years of Tibetan Art, Spink & Sons, Ltd., 1991, no. 18.Exhibited:Monasterios y lamas del Tibet, Fundación 'La Caixa', Madrid, November 2000-January 2001.Provenance:Spink & Son Ltd., London,1991For further information on this lot please visit Bonhams.com
Lot 134
PURBHA DE VAJRAKILA EN LAITONTIBET, XIVE SIÈCLE Himalayan Art Resources item no. 205041 28.5 cm (11 1/4 in.) highFootnotes:A BRASS PURBHA OF VAJRAKILA TIBET, 14TH CENTURY 西藏 十四世紀 銅普巴金剛杵 The apex of this purbha depicts the meditational deity Vajrakila in his physically manifested form. In a clever twofold representation, he raises a miniature purbha, or a triple-edged stake, to his heart while transforming the lower part of his torso into the very object he holds in his principal pair of hands. Based on its modelling, this purbha would have either demarcated the sacred boundaries of a sculptural mandala or been placed within a shrine of worship. Dated to the 14th century, but modelled in a different manner, is another brass purbha depicting Vajrakila as both a deity and ritual implement in the Tibet Museum – Fondation Alain Bordier in Gruyères, Switzerland (ABR 007).Published:Ramon Prats, et.al., Monasterios y lamas del Tibet, Madrid, Fundación 'La Caixa', 2000, p.103, no.24.Exhibited:Monasterios y lamas del Tibet, Fundación 'La Caixa', Madrid, November 2000-January 2001.Provenance:Spink & Son Ltd., London, 1990sFor further information on this lot please visit Bonhams.com
Lot 138
SOCLE DE PURBHA EN FER DAMASQUINÉ OR ET ARGENTTIBET ORIENTAL, DERGÉ, XVE SIÈCLE Himalayan Art Resources item no. 205083 Purbha: 21.5 cm (8 1/2 in.) high; Stand 12 cm (4 3/4 in.) highFootnotes:A GOLD AND SILVER DAMANSCENED IRON PURBHA STAND EASTERN TIBET, DERGE, 15TH CENTURY 藏東 更慶鎮 十五世紀 鐵鋄金銀普巴杵座 This wrought iron box, which was used as stand for a phurba (a ritual dagger), is emblazoned with gold and silver inlays. The upper lid depicts three severed heads in silver while the upper and lower rims are bordered by skulls connected by scrolling, golden entrails. A wide band of dancing flames in gold runs along each side of the stand. This style of metalwork is consistent with Tibetan ritual objects that were informed by imperial designs of the early Ming dynasty (c. 15th century), as exemplified by an altar kapala illustrated in Henss, Buddhist Ritual Art of Tibet, Stuttgart, 2020, fig. 322. Also compare with a later example in the Fondacion Alain Bordier (von Schroder, Art sacre du Tibet, 2013, p. 225, no. 120).Published:Robert Thurman and David Weldon, Sacred Symbols: The Ritual Art of Tibet, New York, 1999, p. 124, no. 56.Natalie Bazin, Rituels tibétains: Visions secrètes du Vème Dalaï Lama, Paris, 2002, p. 158, no. 125.Exhibited:Rituels tibétains: Visions secrètes du Vème Dalaï Lama, Musée Guimet, Paris, 6 November 2002 - 24 February 2003.Provenance:Spink & Son Ltd., London, 1990sFor further information on this lot please visit Bonhams.com
Lot 139
VARJA EN ACIER INCRUSTÉ D'OR ET DE CUIVRETIBET, XIIE/XIIIE SIÈCLE Himalayan Art Resources item no. 205087 19.5 cm (7 5/8 in.) highFootnotes:A GOLD AND COPPER INLAID STEEL VAJRA TIBET, 12TH/13TH CENTURY 西藏 十二/十三世紀 鋼錯金錯紅銅金剛杵The vajra, or dorje, is the quintessential symbol of tantrism, signifying the 'diamond vehicle' or Vajrayana Buddhist path. The Sanskrit term means, 'the hard or mighty one,' while its name in Tibetan translates to, 'the lord of stones,' both of which underscore the indestructible, immovable, immutable qualities of the enlightened mind. This double pronged item – a mirror of each of its sides – is an early form of the implement represented with gold and copper inlay. Another 12th century example, which sold at Sotheby's, New York, 17 March 2015, lot 1041, shares many of its decorative features with the following work. Also compare with another in Henss, Buddhist Ritual Art of Tibet, Stuttgart, 2020, p. 40, no 27.Provenance:Spink & Son Ltd., London, 1990sFor further information on this lot please visit Bonhams.com
Lot 141
STUPA EN LAITONTIBET, VERS XIVE SIÈCLE Inset with turquoise;Himalayan Art Resources item no. 205006 33 cm (13 in.) highFootnotes:A BRASS STUPA TIBET, CIRCA 14TH CENTURY 西藏 約十四世紀 銅嵌寶佛塔 A symbol considered to be both sacred and precious, the stupa represents the body, speech, and mind of the Buddha. Starting from the base, each section represents the upward transformation of each of the five elements: earth, water, fire, wind, and space, rising into a realm of enlightenment. The earth is represented by the lotus petals with the bell-shaped body which rises to a platform signifying water. The spire represents fire and consists of thirteen tapering rings which sits above a turquoise-inset parasol, implying wind. At the apex sits a lotus bud finial, adorned with decorative sashes, representing space.This type of stupa in Tibet is known as a kadam chorten and is an interpretation of the eastern Indian model that was brought to Tibet in the 11th century by the great teacher Atisha (982-1054). For other examples of this stupa type, see one sold at Christie's, New York, 19 September 2000, lot 117. Published:Deborah Ashencaen and Gennady Leonov, Body, Speech and Mind: Buddhist Art from Tibet, Mongolia and China, Spink & Son Ltd, London, 1998, p. 69, no. 36.Ramon Prats, et.al., Monasterios y lamas del Tibet, Madrid, Fundación 'La Caixa', 2000, p. 132, no. 70.Exhibited:Monasterios y lamas del Tibet, Fundación 'La Caixa', Madrid, November 2000-January 2001.Provenance:Spink & Sons Ltd., London, 1998For further information on this lot please visit Bonhams.com
Lot 143
STUPA DU MAHAPARINIRVANA EN LAITONTIBET, VERS XIIIE SIÈCLE Inset with turquoise;Himalayan Art Resources item no. 205014 54.1 cm (21 1/4 in.) highFootnotes:A BRASS MAHAPARINIRVANA STUPA TIBET, CIRCA 13TH CENTURY 西藏 約十三世紀 銅嵌寶大涅槃塔The stupa is the earliest form of the Buddha image, initially constructed to commemorate the major events in the historical life of the Buddha Shakyamuni. The Indian Buddhist tradition of stupa construction developed into a widespread practice of relic worship, which eventually resulted in the creation of portable objects. During the 3rd century BCE, the emperor Ashoka of the Maurya dynasty divided up the Buddha's relics and built 84,000 stupas throughout India in an acknowledgement of the Buddha's omnipresence.This stupa is closely associated with the earliest form known as the Kadampa style. The bell-shaped design and wide leaf lotus petals make reference to northeast Indian models from the Pala period. However, the shape of the parasol, which has been surmounted by a pendant finial and inset with turquoise, is a unique Tibetan adaptation. A close example of this style is illustrated in Henss, Buddhist Ritual Art of Tibet, Stuttgart, 2020, no. 57.Published:Ramon Prats, et.al., Monasterios y lamas del Tibet, Madrid, Fundación 'La Caixa', 2000, p. 123, no. 71.Exhibited:Monasterios y lamas del Tibet, Fundación 'La Caixa', Madrid, November 2000-January 2001.Provenance:Spink & Son Ltd., London, 1990sFor further information on this lot please visit Bonhams.com
Lot 148
COUTEAU RITUEL (KARTRIKA) EN FER DAMASQUINÉ ORTIBET ORIENTAL, DERGÉ, XVE/XVIE SIÈCLE Himalayan Art Resources item no. 205011 31 cm (12 1/4 in.) highFootnotes:A GOLD DAMASCENED IRON RITUAL FLAYING KNIFE (KARTRIKA) EASTERN TIBET, DERGE, 15TH/16TH CENTURY 藏東 更慶鎮 十五/十六世紀 銅鋄金鉞刀 As a quintessential attribute to wrathful tantric deities, the kartrika, symbolizes the power to sever obstacles and cut through ignorance and delusion. Typically constructed of a vajra finial, a handle and a bladed which descends from the mouth of a makara, signifying the tantric methodology of the union of wisdom and skillful means. Another damascened example with script across the blade is illustrated on HAR 88430.Published:Ramon Prats, et.al., Monasterios y lamas del Tibet, Madrid, Fundación 'La Caixa', 2000, p.100, no.12.Exhibited:Monasterios y lamas del Tibet, Fundación 'La Caixa', Madrid, November 2000-January 2001.Provenance:Spink & Son Ltd., London, 1990sFor further information on this lot please visit Bonhams.com
Lot 149
TANGKA REPRÉSENTANT CHINTAMANI HAYAGRIVATIBET ORIENTAL, MONASTÈRE DE MINDROLLING, XIXE SIÈCLEDistemper on cloth with red handprints verso;Himalayan Art Resources item no. 205057 Image: 47 x 59 cm (18 1/2 x 23 1/4 in.); With mounts: 72 x 120 cm (28 3/8 x 47 1/4 in.)Footnotes:A THANGKA OF CHINTAMANI HAYAGRIVA EASTERN TIBET, MINDROLLING MONASTERY, 19TH CENTURY 藏東 敏珠林寺 十九世紀 馬頭明王唐卡 The red-skinned deity with two arms holding a ritual chopper and skull bowl embraces his consort trampling multiple figures on a golden disced lotus platform. The surrounding simple landscape is populated by four Nyingma masters at the top and various retinue deities on the sides and lower section. Several representations of Hayagriva appearing this basic form are known and the consort can appear red in colour and sometimes blue. One specific form of the deity is known as Hayagriva-Vajravarahi Chintamani (ta pag yi shin nor bu, the Wish-fulfilling Jewel, Horse-Necked One and Vajra Sow). This principal meditational deity was practiced by the famous 19th century teacher Shabkar (1781-1851) of Eastern Tibet. Compare with an example on HAR 53160.Provenance:Spink & Son Ltd., London, 1990sFor further information on this lot please visit Bonhams.com
Lot 151
STATUETTE DE VISHNU SUR GARUDA EN ALLIAGE DE CUIVRENÉPAL, VERS XIVE SIÈCLEHimalayan Art Resources item no. 205034 8.2 cm (3 1/4 in) highFootnotes:A COPPER ALLOY FIGURE OF VISHNU ON GARUDA NEPAL, CIRCA 14TH CENTURY 尼泊爾 約十四世紀 毗濕奴與迦樓羅銅像The warm, lustrous surface of this small image of Vishnu atop his animal mount Garuda reflects centuries of adoration and ritual handling under a Nepalese devotee, wearing away nearly all its distinguishing features. Compare the following work's rich patina to a Nepalese gilt bronze of Devi from the Claude de Marteau Collection, sold at Bonhams, Paris, 14 June 2022, lot 31.Provenance:Ashencaen and Leonov, London, 2000sFor further information on this lot please visit Bonhams.com
Lot 152
STATUETTE DE VISHVARUPA EN LAITONNÉPAL, XIXE SIÈCLEHimalayan Art Resources item no. 205061 20.5 cm (8 1/8 in.) highFootnotes:A BRASS FIGURE OF VISHVARUPA NEPAL, 19TH CENTURY 尼泊爾 十九世紀 維斯瓦鲁帕銅像This brass figure likely represents the cosmic, universal form of Vishnu as Vishvarupa, accompanied here by his female consort. During the Late Malla period, representations of Hindu and Buddhist deities with a multitude of arms and heads served as visual aids for teachers who sought to clarify the complex systems of esoteric meditational practices to their disciples. See a stone figure bearing similar attributes but without a consort, published in Grewenig and Rist, eds., Buddha - 2000 Years of Buddhist Art: 232 Masterpieces, Völklingen, 2016, pp. 346-7, no. 146, as well as a figure of Chakrasamvara as Vishvarupa Mahasamvara, published in Huntington and Bangdel, The Circle of Bliss, 2003, pp. 282-3, no. 77.Provenance:Alain Presencer, UK, 2000sFor further information on this lot please visit Bonhams.com
Lot 156
TANGKA EN SOIE APPLIQUÉE ET BRODÉE REPRÉSENTANT RAGAVAJRA GANAPATITIBET OU MONGOLIE, VERS XIXE SIÈCLEWith original silk mount and veil.Himalayan Art Resources item no. 205056 Image: 51 x 38.5 cm (20 1/8 x 15 1/8 in.); With silks: 86.5 x 65 cm (34 1/8 in. x 25 5/8 in.)Footnotes:A SILK APPLIQUÉ AND EMBROIDERED THANGKA OF RAGAVAJRA GANAPATITIBET OR MONGOLIA, CIRCA 19TH CENTURY西藏或蒙古 約十九世紀 織錦加緞繡移威象鼻財神金剛愛母唐卡Introduced into Tibet by the Buddhist teacher Atisha (982-1054) and worshipped in the Revealed Treasure (Terma) tradition of the Nyingma school, this unique form of the elephant-headed deity Ganesha is a wealth and power deity known as Ragavajra Ganapati. This embroidered thangka is eye-catching for its creative depiction of a monkey-headed goddess placing her mouth to Ganapati's phallus while expelling menstrual blood into a skullcup, pushing the boundaries of what is considered taboo to confer esoteric instruction, even by the visual standards of the 18th and 19th centuries. Moreover, the original silk mount with Chinese dragons chasing after a flaming pearl at the lower register speaks to some degree of contact between the monastic tradition that contributed to the making of this thangka and lamas from the Qing dynasty (1644-1911). Compare a painting on cotton depicting the same deities in the Rubin Museum of Art (F1997.13.2; HAR 207).Provenance:Ashencaen and Leonov, London, 2000sFor further information on this lot please visit Bonhams.com
Loading...-
151070 item(s)/page