Page 84 - Bonhams IMages of Devotion, Hong Kong Nov 30 2022
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Fig. 2                                             Fig. 3
           A gilt copper alloy statue of Shakyamuni, Avalokiteshvara    Kuan-yin vase in yangcai enamels with Indian lotus
           and Bodhisattva                                    1742, Qianlong reign (1736-1795), Qing dynasty
           Qing Dynasty, Qianlong period (1736-1795)          20.6 cm high
           Nanjing Museum, Nanjing                            National Palace Museum, Taipei
                                                              Image Number K1B017180N000000000PAB



           Meanwhile, the non-figural components of the triad—the plinth and   Given its overall and immediate resemblance to Zanabazar’s work, but
           aureole—also display strong Qing sensibilities. The almost painterly   an execution more aligned with Qing workshops, this triad possibly
           treatment of the reticulated stems and unfurling lotus that centers the   served as an astute gift from the emperor to a Mongolian political
           rectangular base guarded by a set of four snow lions clearly borrows   or religious leader. The Manchu rulers recognized the need to forge
           from Qing porcelain, evinced by a Qianlong yangcai enameled ‘lotus’   alliances with the Mongols and made several frequent overtures to
           vase in the National Palace Museum, Taipei (fig. 3; Liao [ed.], Stunning   their leaders. They hosted annual gatherings at the summer retreat
           Decorative Porcelains from the Ch’ien-lung Reign, 2008, pp. 130-1,   at Chengde, which included Mongol festivities such as hunts and
           pl. 40). Meanwhile, the distinctive backplate bears little resemblance   wrestling matches. Mongol Gelug lamas officiated over Yonghegong,
           to any of Zanabazar’s known works and may derive from a particular   the imperial Tibetan Buddhist temple in Beijing. And the emperors
           set of thangkas commissioned at Tashi Lhunpo in Tsang, Central Tibet,   sponsored a prolific increase of temples throughout Mongolia,
           and gifted by the Third Panchen Lama, Lobzang Palden Yeshe (1738-  furnished with Tibetan Buddhist art dispatched from Qing foundries
           80), to the Qianlong emperor (HAR set no. 3754). This enigmatic set of   in Dolonnor and Beijing. Leaders of both civilizations recognized the
           thangkas depicts the Seven Buddhas of the past, each seated under   religion’s potential to promote cohesion and common ground among
           the canopy of a fruit-laden tree rendered with such prominence that   them. A triad such as this, paying homage to the proud cultural
           it obscures part of the aureole. The set was enthusiastically received   achievement of the Mongols, might have shown great respect, while
           by the emperor, who commissioned painted copies and immortalized   also reminding its recipient of Zanabazar’s ardent support for their
           it in stone, directing its carved replication into an octagonal pillar, the   allegiance to the Qing empire.
           Qifota (Seven Buddha Pagoda), originally located north of the Five
           Dragon Pavilion at Beihai, Beijing (Berger, Empire of Emptiness, 2003,
           p. 186). Furthermore, one of the imperially commissioned copies (HAR
           33688) resembles the lotus pedestal with on which the central Buddha
           of this triad sits, which confirms to the idiomatic circular shape and
           upturned direction of Zanabazar’s designs but depart entirely in the
           representation of the petals themselves.













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