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           A THANGKA OF VAIROCANA
           CENTRAL TIBET, 14TH/15TH CENTURY
           Himalayan Art Resources item no. 4740
           89 x 70.5 cm (35 x 27 3/4 in.)

           HKD650,000 - 950,000
           藏中 十四/十五世紀 大日如來唐卡

           Depicted at the center of this thangka in full royal regalia is Vairocana, one of
           the five cosmic buddhas, surrounded by a field of small golden buddhas. The
           tight composition, with the entire surface plane covered in rich ornamentation
           and held in geometric symmetry is resolute. Layered on top, and softening the
           dense registers, are gentle folds of billowing fabric draped in naturalistic patterns
           along with beaded jewelry raised in gold. The flattened composition of decorative
           detail, combined with the more fluid silks and gold jewelry, portrays a marriage of
           aesthetics – an interlacing of traditions between Nepal and China within nascent
           artistic developments in Tibet during the fourteenth and fifteenth centuries.

           The artistic narrative between Nepal and Tibet blossomed in many regards from
           the murky demise of Buddhism in India. The continuity of Buddhism held within
           the Kathmandu Valley, along with continued trade and commerce between Tibet
           and Nepal during the 13th century, provided the environment for strong Nepalese
           elements in Tibetan paintings, a legacy that would last centuries. The pervading
           Nepalese aesthetic, characterized here by scrolling patterns, an intensification
           of the blue background behind the central figure, and an elaborate throne back
           architecturally supported by a pillar of elephants, lions, rampant vyalas at the
           sides, and makaras with foliate tails climbing towards a garuda at the throne’s
           apex, are all shared by a thangka featuring Akshobya in the Rubin Museum of Art
           (P1996.20.21).

           Close relations were established during the 13th century between the Mongol
           rulers in China and Tibet, and the patronage for Buddhist works of art by the
           reigning leaders necessitated a merging between the Nepalese ornamental style
           and a naturalistic outlining inherent to Chinese traditions. The lower leaves of
           the lotus throne curl out in ribbons of color and the rhythmic layering of fine silks
           around Vairocana in a variety of embroidered patterns are delicate, smooth, and
           lend themselves to an ethereal air. Both of these previously mentioned features
           appear on another painting of Amoghasiddhi (see HAR 66703) and illustrate that
           by the late 14th century, the array of fabrics derived initially from the Tang dynasty,
           become even more conspicuous. The styling of looped swags on the waist
           band and the U-shaped pleats of the lower garment draped over the calves also
           indicate an influence coming from the early Ming period, where these elegant and
           decorative details, as seen on a Yongle period gilt-bronze of Vajradhara located in
           the Tsuglakang Temple, Lhasa (HAR 57394), are featured.
           Provenance
           Private London Collection
           Private California Collection, acquired in the 1980s




















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