Page 24 - Sotheby's October 3 2017 Tantra Buddhost Art

The last of the figurative appearance in Himalayan art is Most of the sculptural pieces in this Nyingjei Lam group were
specifically of Tibetan making. It is the Warrior form. Typically created between the 13th to 15th century. There are a number
a male warrior, human in appearance but sometimes wrathful, of different artistic styles represented, along with different
a soldier, wearing leather or metal armor plate, with a helmet regions, and different religious traditions within Himalayan and
and battle flags, holding a spear or sword, riding a horse. These Tibetan Buddhism. So, there does not appear to be any consis-
deities represent the mountain gods and local deities and spir- tency or uniformity among the pieces based on style, region, or
its of the Himalayan regions and Tibet that have slowly been iconography. The pieces are clearly a mix of different regional
converted and transformed into Buddhist protector deities. taste and in some cases technique. Rarity can play a big part in
collecting art. Value is often tied to rarity and quality. Although
There are four gender specific types of figures. They are the rarity can generally be easily determined with identifiable and
first category, discussed earlier, which described the Buddha, known subject types. Quality is another matter which becomes
the Elder (Sthavira/arhat) and the King appearances, and also very subjective with little study, academic or otherwise, in the
include the last, Warrior Appearance. Female buddhas are field of modern Himalayan art studies. Then again, ‘best of
depicted as peaceful in appearance. Queens are also depicted type’ is becoming easier when so many comparable examples
as lay women, or as well attired and jeweled peaceful deities. are available to study and compare. Still, what is the main
characteristic of the Nyingjei Lam sculpture? What can be said
The only remaining sculptural figure not yet discussed is about the pieces as a whole? What is really special?
Pita Jambhala (lot 3101), peaceful in appearance, holding a
bijapuraka fruit in the right hand and a mongoose in the left There are probably two outstanding characteristics when
hand cradled to the waist. He is seated in a relaxed posture with considering this collection. The first is more academic and
the right foot resting on a wealth vase, atop a single lotus seat takes into consideration the number and breadth of pieces
supported by a series of pillar-like wealth vases. This type of representing a broad range of artistic styles, regions and time
figure does not fall under the category of peaceful appearance periods. The second is more nuanced and recognizes an aes-
but rather under the category of king appearance. King ap- thetic continuity between the pieces which specifically relates
pearance, from the first category of appearance, is described to the portrait-like faces of the figures. The faces are all in good
as having one face and two arms, a stern expression with a fur- general physical condition with few abrasions, scratches or
rowed brow and wide-open eyes, moustache and goatee, portly deformities due to casting flaws or the travails of time. But
and rotund in girth, heavy set like a king who is fabulously more importantly, the faces are consistently beautiful with ex-
wealthy, and not short of luxury, and having an abundance of pression and character. Both collection characteristics reflect
fine delicacies. Figures with King Appearance can be wearing on the collector and give some indication as to the interest in
heavy layers of clothing typical of Tibetan royalty or sometimes the art and the collecting style. In conclusion the Nyingjei Lam
with very little clothing representing the warmer climate and collection should be regarded as one of the finest 20th century
kings of southern India. collections of portrait-like bronze sculpture, some rare, some
early, and always beautiful to see.

22 SOTHEBY’S 蘇富比