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Lot Essay
Les masques de ce type étaient portés par les lamas, fixés sur leurs coiffes lorsqu’ils pratiquaient les danses rituelles au cours des initiations de Kalachakra. La forme est limitée aux lignes essentielles, produisant un effet saisissant lors du rituel. A comparer avec un autre exemple publié dans G. Béguin, Dieux et démons de l'Himâlaya, 1977, cat. n°329, ill. p. 265, ainsi qu’avec deux autres exemples dorés reproduits dans R. Thurman and D. Weldon, Sacred Symbols, The Ritual Art of Tibet, 1999, cat. n°40 and 41.
Masks of this type were worn by lamas performing ritual dances during Kalachakra initiations, and attached to their headdresses. The design is reduced to essential outlines, forming a striking appearance during the ritual; compare with another example in G. Béguin, Dieux et démons de l'Himâlaya, 1977, cat. n°329, ill. p. 265, and two further gilt examples in R. Thurman and D. Weldon, Sacred Symbols, The Ritual Art of Tibet, 1999, cat. n°40 and 41.
Masks of this type were worn by lamas performing ritual dances during Kalachakra initiations, and attached to their headdresses. The design is reduced to essential outlines, forming a striking appearance during the ritual; compare with another example in G. Béguin, Dieux et démons de l'Himâlaya, 1977, cat. n°329, ill. p. 265, and two further gilt examples in R. Thurman and D. Weldon, Sacred Symbols, The Ritual Art of Tibet, 1999, cat. n°40 and 41.