Beschreibung:

DescriptionA thangka depicting the 7th Karmapa, Chodrak Gyatso Tibet, 17th century西藏 十七世紀 七世噶瑪巴確札嘉措唐卡
distemper on clothHimalayan Art Resources item no. 13729設色布本HAR編號13729
Height 24½ in., 62.2 cm; Width 15½ in., 39.4 cmCondition reportIn good overall condition for an object of this type and age. Accretion throughout. Some areas of abrasion scattered throughout. Minor water damage and attendant loss in the upper right corner. No restoration. Mounted in the original brocade.
For more information on and additional videos for this lot, please contact Eleanor.Jahrling@sothebys.com.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.
我們很高興為您提供上述拍品狀況報告。由於敝公司非專業修復人員，在此敦促您徵詢其他專業修復人員，以獲得更詳盡、專業之報告。
準買家應該檢查每件拍品以確認其狀況，蘇富比所作的任何陳述均為主觀看法而非事實陳述。雖然本狀況報告或有針對某拍品之討論，但所有拍賣品均根據印於圖錄內之業務規則以拍賣時狀況出售。ProvenanceAcquired in India, circa the 1960s, and thence by descent.
得於印度，約1960年代，此後家族傳承Catalogue noteThe present thangka is painted in a style ultimately derived from early Ming dynasty (1368-1644) imperial works depicting luohan, where an arhat would be depicted wearing finely patterned silk robes and seated in landscape beneath a gnarled tree: compare an example depicting Chudapanthaka, mark and period of Yongle, sold in these rooms, 21st September 2017, lot 33 (HAR 12540). There is a stylistic resemblance to paintings attributed by David Jackson to Khyentse Chenmo of Gonkar (active mid to late fifteenth century) or his successors: details including the semi-transparent halo encircling Dondrup Ozer in the upper right, revealing background detail; rock formations and foliage; and finely executed Chinese Ming style textile designs are seen in the Three Great Adepts thangka in the Rubin Museum of Art, see David P. Jackson, A Revolutionary Artist of Tibet: Khyentse Chenmo of Gongkar, New York, 2016, p. 56, fig. 2.12 (HAR 65349). The present rare and finely executed portrait of Chodrag Gyatso (1454-1506) and lineage commemorates these earlier styles and dates to around the first half of the seventeenth century.
The thangka depicts the hierarch with hands in dharmachakra mudra, wearing red and saffron robes and the black hat of the Karma Kagyu lineage, seated on cushions set on a tiered pedestal draped with a blue bordered dragon motif textile, an altar table before with offerings. There is a blue and a green dragon writhing around the uprights of the jeweled throne back, all set in flower-filled landscape with a gnarled fruiting lychee tree to the left and mountains above, Jampal Gyatso with a rosary in hand and seated amid clouds to the upper left, Dondrup Ozer to the right, Tsultrim Pal Zangpo below with foreign pilgrims bringing gifts, and the eighth Karmapa Mikyo Dorje (1507-1554) seated in the lower right.