Beschreibung:

DescriptionA thangka of Amitabha with myriad BuddhasCentral Tibet, 14th century藏中 十四世紀 阿彌陀佛及萬佛唐卡
distemper on clothHimalayan Art Resources item no. 58521設色布本HAR編號58521
Height 17½ in., 44.5 cm; Width 17 in., 43.3 cmCondition reportThe thangka is in a very good state of preservation for one of this early period. The intricate details, especially the high viscosity gold paint, remain in very good condition. Other than minute areas of touch up, including on the face, it is in good original condition.
For more information on and additional videos for this lot, please contact Eleanor.Jahrling@sothebys.com.
Because this lot was imported into the United States after September 1, 2020, it is subject to an import tariff of 7.5% of the value declared upon entry into the United States. $5,250.00, plus applicable sales tax will be included on your invoice unless you instruct Sotheby's to arrange shipping of the lot to a foreign address. For more information on the import tariff, please review the Symbol Key in the back of the catalogue. If you have any questions, please contact tariffs@sothebys.com. 由於本拍品在 2020年9月1日之後進口到美國，所以買家可能需就本拍品支付進口關稅，金額為拍品進口美國當時申報價值的7.5％。除非您要求蘇富比安排運送拍品到美國境外之地址，否則發票上將包括5,250.00美元以及相關的銷售稅。如欲查詢進口關稅的更多信息，請查閱目錄背面的附錄。如有任何疑問，敬請聯繫tariffs@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。ProvenanceDavid Tremayne Ltd., London, 30th June 1987.
David Tremayne Ltd.，倫敦，1987年6月30日ExhibitedRubin Museum of Art, New York, 2013-2018 (on loan).
魯賓藝術博物館，紐約，2013年至2018年 (借展)Catalogue noteThe painting depicts the Transcendental Buddha, Amitabha, red in color, adorned with golden gem-set jewelry, wearing a sash around the torso, a colorful striped dhoti and a diaphanous undergarment with a design of Buddhas within roundels. With hands folded in dhyana mudra and legs crossed in vajraparyankasana, the Buddha is seated on an eastern Indian-style throne, with a green scroll-patterned cushion behind, a triangular cross member supporting hamsa geese flanking his multicolored halo, and Garuda at the apex. Attendant bodhisattvas stand on either side of the throne, both orange in color, with hands in the teaching gesture, dharmachakra mudra, one with a white lotus at the shoulder and the other with a red lotus supporting a curved kartrika knife. Nine seated deities appear within the central shrine, including four above holding golden-stemmed flowers; blue Manjushri at the left and an obscured figure to the right; an offering goddess at either end of the throne base, one holding a conch shell and scarf and the other a butter-lamp; a seated deity in the center with a chain—perhaps Vajrasphota, guardian of the Western mandala gate—together with two pairs of entwined peacocks representing Amitabha's vahana. The background of the painting is filled with repeated images of Shakyamuni Buddha, a mounted Dikpala guardian at the left of the lower register next to Lokapala Virupaksha, Guardian of the West, and a second mounted Dikpala to the right corner.
A similar composition of myriad Buddhas is seen on a circa 1250-1300 central Tibetan thangka of Akshobhya Buddha that similarly depicts only one of the four Lokapala and two of the eight Dikpala guardians in the lower register, exhibited in Himalayas: An Aesthetic Adventure, Art Institute of Chicago, Chicago, 2003. cat. no. 134. In this catalogue, Pratapaditya Pal suggests that the remaining six Dikpala and three Lokapala that are not depicted on the Akshobhya would appear on other thangkas in a set of five paintings representing a Vajradhatu mandala, ibid., p. 207. Indeed, Akshobhya's mandala position is East and the Lokapala depicted in the lower register, Dhritarashtra, is the Guardian of the East, while the present thangka of Amitabha, whose mandala position is West, depicts the Guardian of the West, Virupaksha. Pal further suggests that the central painting of the group of five, that of Vairochana, would not depict guardians: indeed, a late thirteenth or early fourteenth century central Tibetan 'Vairochana' thangka from a set of five, with similar myriad Buddha composition, contains no guardian deities, as shown in The Circle of Bliss: Buddhist Meditational Art, Columbus Museum of Art, Columbus, 2003, cat. no. 131. The myriad Buddhas depicted on all these paintings likely represent the concept of the Thousand Buddhas of the Auspicious Aeon (see Pal, op. cit.).
The present Amitabha would thus have been one of the five paintings in an important set of thangkas representing a Vajradhatu mandala, a popular iconographic theme in early Tibetan art. The style of the thangka maintains the eastern Indian stylistic influence evident in central Tibetan paintings from the twelfth to the fourteenth century, in the design of the gem-set golden pendants suspended from the necklace; the green scrolling textile pattern of the throne cushion; the striped dhoti and the diaphanous undergarment with depictions of Jina Buddhas; and Amitabha's face expressing an otherworldly intensity reminiscent of medieval eastern Indian sculpture and painting. Compare a late thirteenth or early fourteenth century central Tibetan thangka of Amitabha painted in the eastern Indian manner, exhibited in Kossak and Casey Singer, Sacred Visions: Early Paintings from Central Tibet, The Metropolitan Museum of Art, New York, 1999, cat. no. 28; and the miniature Buddha figures depicted on the diaphanous shawl of a circa 1200-1250 painting of Ratnasambhava, ibid., cat. no. 23.
The painting is notable for the sumptuous treatment of Amitabha's jewelry and throne back, featuring golden droplets and gem settings worked in relief with high viscosity paint, a skill elucidated by Rob Bruce-Gardner, 'Reflections on Technique in Early Central Tibetan Painting' in ibid., p. 202.