Page 188 - Bonhams Auction Images of Devotion Oct. 2 2018

However, emphatic of the syncretism of painting traditions that really 然而十八世紀多見融合多種繪畫傳統的作品。此處畫師描繪的金色
blossoms in the 18th century, the painter also shows a mastery of 嶙峋山巒即展現了其對於新勉塘畫派的熟捻。事實上，相比藏於紐
the New Menri tradition in his brilliant rendering of the golden, jagged 約魯賓博物館的一幅主要體現新勉塘風格的大黑天唐卡，本作品的
landscape. In fact, his treatment is significantly more sophisticated 畫工更勝一籌（參見喜瑪拉雅藝術資源65004號；Linrothe 及 Watt著
than a blackground thangka of Panjarnata Mahakala predominately Demonic Divine ，紐約，2004年，81頁，圖2.28）。十七世紀五世
in the New Menri style, held in the Rubin Museum of Art (HAR 賴喇嘛阿旺羅桑嘉措（1617-1682年）平定騷亂統一西藏後，在格魯
no.65004; Linrothe & Watt, Demonic Divine , New York, 2004, p.81, 派強權統治對藝術的支持下，西藏中部地區於十八世紀空前繁榮。他
fig.2.28). Central Tibet in the 18th century witnessed tremendous 的統一政策包括試圖讓西藏視覺藝術同質化。十七世紀畫派林立風格
prosperity and artistic patronage under solidified Gelug rule. This 渾沌，而到十八世紀風格逐漸統一，在這幅既大方簡潔、內容豐富、
followed a turbulent 17th century in which the Fifth Dalai Lama 毫無瑕疵的傑作中展露無疑。
Ngawang Lozang Gyatso (1617-1682) unified Tibet. His unifying
strategies included an attempt to homogenize Tibetan visual culture. 大黑天具有震攝力的結綵皇冠骷髏頭與2001年在北京展覽的吉祥
From a muddier amalgamation of painting traditions in the 17th 天唐卡上有相似之處，詳見《金色寶藏: 西藏歷史文物選萃》，北
century comes a resplendent crystallization in the 18th century, 京，2001年，頁106。畫面右下角吉祥天母坐騎上懸掛人皮的表現
represented in this masterpiece’s clean, sophisticated, flawless 手法，與台北故宮博物院所藏1669年製的康熙泥金寫本《藏文龍藏
design and rendering. 經》中繪製的獅面空行母與馬頭明王所批人皮相似，詳見宋兆霖編
《唵嘛呢叭咪吽－院藏藏傳佛教文物》，台北，2015年，頁130-1。
Details such as Panjarnata Mahakala’s charismatic skull crown with 另外一幅相關的大黑天唐卡現藏於倫敦維多利亞與阿爾伯特博物館
pendant festoons are shared by a painting of Shri Devi exhibited in （館藏編號IM.31-1937），其肩披勉帛帶上的花紋和所持天杖十分
Beijing in 2001 (see Jin We Bao Zang: Xizang Li Shi Wen Wu Xuan 類似。
Cui, Beijing, 2001, p.106). The treatment of the flayed human skin
hanging from Shri Devi’s mule in the present painting’s bottom right 可參考比較另兩張黑唐卡，一出版於Rochell & Rossi的
corner also compares closely with those on the Simhavaktra and 《Masterpieces of Himalayan Art》，紐約，2009年，編號23；另一
Hayagriva illustrations of the Kangxi Kangyur in the National Palace 於1985年九月於紐約蘇富比售出，拍品158號，現藏於瑞士巴塞爾民
Museum, Taiwan, dated to 1669 (see Sung (ed.), Om-mani-padme- 俗博物館，詳見Essen and Tingo，《Die Gotter des Hialayan》，慕
hum: Tibetan Buddhist Art in the National Palace Museum, Taipei, 尼黑，1989年，頁225，138c號。
2015, pp.130-1). Another related painting of Panjarnata Mahakala,
with similarly patterned scarf and ghandi stick, is held in the Victoria 著錄
and Albert Museum (acc.no.IM.31-1937). Ann W. Norton，《Gods, Saints and Demons: Hindu and Tibetan
Art》，斯托斯，康乃狄克州，1989年，頁18，65號。
Compare this painting’s magnificent quality with two other
blackground thangkas representing the pinnacle of the genre. One 展覽
is published in Rochell & Rossi, Masterpieces of Himalayan Art, New Gods, Saints and Demons: Hindu and Tibetan Art，康乃狄大學博物
York, 2009, no.23. The other sold at Sotheby’s, New York, 20 & 21 館（The Benton Museum），斯托斯，康乃狄克州，1989年1月23
September, 1985, lot 158 and is now in the Museum der Kulturen, 日 - 3月12日。
Basel (Essen and Tingo, Die Gotter des Hialayan, Munich, 1989,
p.225, pl.138). 來源
比利時駐華大使，二十世紀初
Published Henri Kamer，紐約，七十年代前後
Ann W. Norton, Gods, Saints and Demons: Hindu and Tibetan Art, 美國新英格蘭私人收藏
Storrs, CT, 1989, p.18, no.65.

Exhibited
Gods, Saints and Demons: Hindu and Tibetan Art, The Benton
Museum at University of Connecticut, Storrs, CT, 23 January -
12 March, 1989.

Provenance
Belgian ambassador to China, early 20th century
Henri Kamer, New York, circa 1970s
Private New England Collection

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