STATUETTE DE SHADAKSHARI LOKESHVARA EN LAITON AVEC INCRUSTATION D'ARGENTTIBET CENTRAL, PROVINCE DE TSANG, XVE SIÈCLEA Tibetan inscription around the foot of the base.Himalayan Art Resources item no. 4885 27 cm (10 5/8 in.) highFootnotes:A SILVER INLAID BRASS FIGURE OF SHADAKSHARI LOKESHVARACENTRAL TIBET, TSANG PROVINCE, 15TH CENTURY西藏 十五世紀 銅錯銀四臂觀音像 Provenance:With Claude de Marteau, Brussels, by 1970s Shadakshari Lokeshvara personifies an essential Buddhist mantra, om mani padme hum ('Hail to the Jewel in the Lotus'), whose six syllables represent the seeds of the six realms in the great cosmic wheel. This ubiquitous Sanskrit mantra is thought to contain the essence of Bodhisattva Avalokiteshvara as the Lord of Compassion. Here, the tightly drawn scarf ends terminating at the edge of the base naturally pull the viewer's attention towards Avalokiteshvara's benevolent gaze as he presses his foremost hands together in the gesture of salutation (anjali mudra). This sizable figure epitomizes the brassy, non-gilded style that was popular in the province of Tsang in Central Tibet. Shadakshari Lokeshvara's broad forehead, softened features, elegant eyes with silver-inlay and dipped upper lids, and dimpled mouth are quintessential to the Tsang style. The sculpture's densely packed lotus petals around the base, the flowing scarf draped over the shoulders, and the rippling of the lower garment around the shins indicate a 15th-century attribution for the piece as they take some inspiration from imperial bronzes from the Yongle period (1403-24), which were sent as gifts to prominent Tsang monasteries. Tsang sculptures of similar quality are preserved in the Jokhang, Lhasa (see von Schroeder, Buddhist Sculptures in Tibet, Vol. II, 2001, p. 1193, no. 323B; HAR 57377); the Museum der Kulturen, Basel (see von Schroeder, Indo-Tibetan Bronzes, 1981, p. 479, no. 133F; HAR 3314761); and a Vajradhara image from the Claude de Marteau Collection, Part 1, sold at Bonhams, Paris, 14 June 2022, lot 38 (HAR 4840). The lengthy dedicatory inscription around the foot of the base makes an obscure reference to the sculpture's patron, 'Srang Gyur', who is yet to be identified. Bonhams would like to thank Jeff Watt and Karma Gelek for their assistance with its transcription and translation: རྒྱལ་བ་ཀུན་གྱི་ཡབ་གཅིག་སྤྱན་རས་གཟིགས། མཐོང་ཐོས་དྲན་རེག་འབྲེལ་ཚད་དོན་ལྡན་འདི། སྡང་མིག་རྒྱུད་པ་ཡོན་བདག་སྲང་སྐྱུར་གྱིས། ཕ་མས་སེམས་ཅན་འགྲོ་དྲུག་དོན་དུ་བཞེངས། ཐམས་ཅད་བདེ་བ་ཅན་དུ་སྐྱེ་བར་ཤོག། 'Sole father of all conquerors,By seeing, hearing, recollecting, and touching, benefitting all,The Dangmig lineage, patron Srang Gyur,Made this for the benefit of mother, father & all beings.May all be reborn in Sukhavati!'For further information on this lot please visit Bonhams.com
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STATUETTE D'HEVAJRA EN ALLIAGE DE CUIVRE AVEC INCRUSTATION D'ARGENTTIBET, PROVINCE DE TSANG, XVE SIÈCLEHimalayan Art Resources item no. 4871 25.4 cm (10 in.) highFootnotes:A SILVER INLAID COPPER ALLOY FIGURE OF HEVAJRATIBET, TSANG PROVINCE, 15TH CENTURY西藏 十五世紀 銅錯銀喜金剛像Provenance:With Claude de Marteau, Brussels, by 1970sThis sculpture of Hevajra trampling a quatrain of piled corpses while raising his two left legs in a passionate dance represents his form in the 'Oral Instruction' Lineage. Also known as the Lamdre (or Margapala) Instruction Lineage, this tradition is said to have been first revealed to Mahasiddha Virupa in a vision from Nairatmya, the consort of Hevajra. The Lamdre, or the 'Path with the Result', is a system of philosophical and meditation techniques based primarily on the Hevajra cycle of Tantras, which were orally passed down from teacher to student and eventually became incorporated into the Sakya school of Tibetan Buddhism as their most important practice. Expertly cast with intricate details, squarish features, and animated eyes inlaid with silver, this superb figure distinguishes itself as one of the most remarkable pieces to have been made in the non-gilding ateliers of Tsang. Luxurious engravings located at the back of the base, which were likely made to fit the tangs of a separately-cast prabhamandala, allude to the Chinese embroidered silks that were sent to monasteries in Tsang as gifts, reaffirming the political trade alliances that were being forged among the leaders of the Sakya and the imperial courts of the Yuan and early Ming dynasties. A Tsang portrait of the Sakya Ngor lama Sanggye Pel, which was sold at Bonhams, New York, 14 March 2017, lot 3273, shares similarly rendered floral decorations at the lower portions of his patchwork robe. The round, beaded rim of Hevajra's lotus base, in addition to Nairatmya's cross-hatched apron, by contrast, pay homage to the gilding workshops that were concurrently flourishing in Central Tibet, including a gilt bronze Hevajra following in the artistic traditions of Sonam Gyaltsen (c. 1430), sold at Bonhams, Hong Kong, 7 October 2019, lot 931. Also attesting to the rarity of Hevajra images from Tsang are two other images that are cast together with their bases, one sold at Christie's, London, 19 June 1973, lot 153, and another published in, The Light of the Buddha: Buddhist Sculptures of the Palace Museum and Zhiguan Museum of Fine Art, 2019, pp. 374-5, no. 101; HAR 8237.For further information on this lot please visit Bonhams.com
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