Page 84 - Bonhams IMages of Devotion, Hong Kong Nov 30 2022

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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