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           A GILT LACQUERED AND POLYCHROMED WOOD             Before Akshobya’s ascendancy, Vairocana was of primary importance
           MANUSCRIPT COVER WITH SARAVID VAIROCANA           among the Buddha families in early Buddhist Tibet, where a statue of
           AND THE WISDOM BUDDHAS                            Saravid Vairocana was installed at the center of at Tabo monastery
           TIBET, CIRCA 14TH CENTURY                         founded in 966 in Western Tibet (see Klimburg-Salter (ed.), Tabo,
           Himalayan Art Resources item no.61527             Milan, 1997, p.97, fig.61).
           9 1/2 x 27 1/2 in. (24.1 x 62.3 cm)
                                                             The short sides of the cover have been skillfully carved with figures
                                                             of Vajrapani, Shakyamuni, and Prajnaparamita. According to Heller,
           $15,000 - 20,000
                                                             the practice of carving the sides is possibly specific to the Western
                                                             Himalayas, as no such examples have been documented from other
           西藏 約十四世紀 木雕彩漆毗盧遮那佛護經板                             regions of Tibet. Similar book covers have been photographed at
                                                             monasteries in Dolpo, Limi, and Mustang: geographic locations where
           This glorious and rare manuscript cover survives with its original gold,   wood was more plentiful. An example with comparable carving is
           red, green, and ultramarine pigmentation. Its composition features the   published in Weldon, Early Tibetan Manuscript Covers, London, 1996,
           five Tathgathas deeply carved into lotus roundels, with the distinctive   no.15.
           representation of four-headed Saravid Vairocana at the center. The
           Cosmic Buddhas are guarded by a protective deity at each center of   Published
           the outer border, interspersed among scrolling vines from which are   Marcel Nies Oriental Art, Body, Speech & Mind, Antwerp, 2006, pp.36-7.
           blooming plump lotus buds of alternating colors, redolent of the those
           seen on the necklaces of Tathagathas in 12th-14th-century thangkas   Provenance
           (cf. Kossak & Casey Singer, Sacred Visions, New York, 1999, pp.54-  Private Collection, New Zealand, 2000s
           61, 80-3, 104-8 & 154-5, nos. 3-5, 13, 14, 23, & 42.)   Marcel Nies Oriental Art, Antwerp, 23 January 2007

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