Page 30 - 2020 December 2 Bonhams Arts of Devotion bronzes and Stone carvings

1013
A THANGKA OF VAJRAPANI
TIBET, CIRCA 14TH CENTURY
Distemper on cloth; recto with gold Tibetan inscriptions identifying various figures,
and a single-line dedicatory inscription at the bottom edge of the painting; verso
decorated with a drawing of a stupa, and with Tibetan ‘om ah hum’ invocations
behind each figure apart from behind the six garudas having the single letter ‘a’
instead.
Himalayan Art Resources item no.58542
53 x 52 cm (20 3/4 x 20 1/2 in.)

HKD700,000 - 900,000
西藏 約十四世紀 金剛手菩薩唐卡

Brilliant blue Canda Vajrapani strikes the warrior’s pose (pratyalidha) before a
crimson flaming nimbus surrounded by scenes of the charnel grounds. Chains of
gold necklaces and a varicolored garland of freshly severed heads tied around a
snake adorn his formidable body. His sense of overpowering command intensifies
with his three bulging, bloodshot eyes.

The teaching lineage within the surrounding registers begins with Vajradhara in the
top left corner and follows with Tilopa, Naropa, Marpa, Milarepa, and Gampopa:
the five founding masters of the Kagyu order. They are followed by five lamas of
the Dagpo Kagyu lineage, starting with Pagmodrupa, Karmapa Dusum Khyenpa,
and Dorje Gyalpo. Descending on the right register from the top are Wangchug
Dragpa, Jigme Dragpa, and Lobzang Dragpa, and on the opposite side are
Chodrag Zangpo, Chojewa, and a series of illegible lamas presumably from the
same lineage. The teachers that descend on the right and left registers represent
the different branches of the Kagyu tradition such as the Pagdru, Karma, Drigung,
and Taglung, including two teachers that appear to be related to either the Sakya
or Shalu monasteries.

A dedicatory verse is written along the bottom border of the painting:

“Om vajra chanda maha roshana hum phat. By creating this painting to protect
the sponsor, the surroundings and wealth, bringing good fortune, long life and an
increase in wealth like the waxing moon. May all beings, including my parents, be
born in the Dong race [of Tibetan peoples].”

The painting’s rich palette, energy, and stunning detail showcase the high artistry
of the Newars. For its elaborate decorative scheme and rare Dagpo Kagyu lineage,
the thangka compares favorably to a related example of Mahakala Panjarnata in
the Rubin Museum, New York, published in Linrothe & Watt, Demonic Divine, New
York, 2004, p.55.

We are grateful to Jeff Watt of Himalayan Art Resources for his assistance with
translating the painting’s inscriptions.

Provenance
Private European Collection

28 | BONHAMS