Page 72 - Indian, Himalaya and Asian Art Bonhams Setp 2015
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A THANGKA OF A GELUGPA REFUGE FIELD                                  A THANGKA OF WHITE TARA
Qing, 18th century                                                   Eastern Tibet, Palpung style, 19th century
Distemper on cloth; at the center of a paradisiacal landscape,
Shakyamuni is flanked by Maitreya and Manjushri, and surrounded by   Her body bearing seven eyes, her hands in varada mudra and holding
groups of Gelugpa hierarchs.                                         a limber lotus, her luxurious silks draped in rhythmic folds, her hair
Image: 23 x 18 1/4 in. (58.3 x 46.2 cm)                              bound within an intricate tiara, she sits within a delicately washed
$2,000 - 3,000                                                       pureland setting with Amitabha seated above.
                                                                     Image: 13 3/8 x 8 1/2 in. (34 x 21.7 cm);
清十八世紀 格魯派皈依境唐卡                                                       With silks: 23 1/2 x 12 5/8 in. (59.7 x 32.1 cm)
                                                                     $2,000 - 3,000

While others can be overcrowded, this is a very accessible           西藏東部 八蚌風格 十九世紀 白度母唐卡
composition of a refuge field thangka (also called a “Field of the
Accumulation of Merit” thangka). Tsongkhapa and his lineage are      This elegant thangka bears the hallmarks of the Palpung style developed
grouped symmetrically on separate cloud banks. Contrast with others  by Situ Panchen Chokyi Jungne (1700-1774). Compare the minimalist
sold at Chrisite’s, New York, 21 September 2007, lot 1878; and       treatment in a thangka of Padmasambhava in Essen & Thingo, Die Götter
Bonhams, New York, 14 March 2015, lot 50.                            des Himalaya, Basel, 1989, no. I-64. Also compare a sublime White Tara
                                                                     featured: www.himalayanart.org/items/59633. White Tara was of special
Referenced                                                           significance to Situ, who is recorded to have painted her many times.
HAR - himalayanart.org/items/33001
                                                                     Thangkas like the present lot formed the inspiration for a group studied by
Provenance                                                           Linrothe, which were composed by the Fourteenth Karmapa Thegchuk
Private New York Collection, acquired in Europe before 1983          Dorje (1798–1868) in Ladakh, on the other side of Tibet (see Jackson,
                                                                     The Place of Provenance, New York, pp. 181-211, figs. 9.18-9.29).

                                                                     Referenced
                                                                     HAR - himalayanart.org/items/31522

                                                                     Provenance
                                                                     Private Collection, Washington, D.C. since 1991

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