Page 15 - September 20th 2021, Indian and Himalayan Art Christie's NYC
P. 15

Property From The India House Collection
 New York (Lots 401-405)




 PROPERTY FROM THE INDIA HOUSE CLUB COLLECTION, NEW YORK
 405
 A RARE GILT-BRONZE FIGURE OF   中國   十八世紀   藏傳鎏金銅章嘉·若必多吉(1717-1786年)坐像
 CHANGKYA ROLPAI DORJE (1717-1786)
 TIBETO-CHINESE, 18TH CENTURY  來源:
 Willard D. Straight (1880-1918年) 珍藏,入藏於1914年前。
 6º in. (15.9 cm.) high
 $15,000-20,000
 PROVENANCE:
 Willard D. Straight (1880-1918) Collection, acquired prior to 1914.

 LITERATURE:
 Himalayan Art Resources, item no. 24662.


 The present bronze depicts Changkya Rolpai Dorje, the Third Changkya
 of the Changkya Khutukhtu lineage, and the preeminent lama of the
 Qing imperial court during the reign of the Qianlong Emperor in the
 eighteenth century. Born to a nomadic family in the Gansu region,
 Rolpai Dorje was recognized at an early age as the reincarnation of
 the First Changkya, and was invested at Gönlung Monastery in Amdo.
 After the monastery was destroyed by the Manchu army in retaliation
 for a rebellion, the young Rolpai Dorje was brought to the Qing court
 in Beijing at the insistence of the Yongzheng Emperor, where he was
 educated alongside the future Qianlong Emperor. In his travels to Tibet,
 Rolpai Dorje learned from the Fifth Panchen Lama and the Seventh
 Dalai Lama, and later became the personal Buddhist teacher of the
 Qianlong Emperor. His position as an important lama based in Beijing
 (his residence was in the Yonghe Monastery, formerly the Yonghegong
 Palace) meant he acted as an intermediary between the Qing court and
 Tibetan and Mongolian religious institutions. He was also an important
 scholar, translator and iconometrist, and helped to develop and codify
 the representation of Buddhist figures in imperial art.
 Representations of Changkya Rolpai Dorje can be easily identified by his
 distinctive facial features and almost square facial shape. Additionally,
 the hat with folded lappets and the sword and book on lotuses at his
 shoulders  (attributes  of  the  bodhisattva  Manjushri,  of  whom  Rolpai
 Dorje was considered to be an emanation) are also used to identify
 him. His most distinctive feature, a congenital bump on his proper right
 cheek, is not found on the present work, although not all bronzes display
 this feature. Compare the present work with a similar representation
 in the collection of the Jacques Marchais Museum of Tibetan Art,
 illustrated by B. Lipton in Treasures of Tibetan Art: The Collections of the
 Jacques Marchais Museum of Tibetan Art, New York, 1992, p. 85, no. 31;
 both figures are shown with their hands held in the same mudras, each
 with the characteristic folded hat and the attributes of Manjushri, the
 sword and book, on lotus blossoms at the shoulders (although the lotus
 supporting the sword is missing from the Jacques Marchais example).
 The Jacques Marchais example does, however, bear the congenital
 mark on the proper right cheek, which as mentioned, is missing from
 the present example.
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