THANGKA REPRESENTANT JAMPAL SANGWA (LE VENERABLE GYIM SHANG)
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THANGKA REPRESENTANT JAMPAL SANGWA (LE VENERABLE GYIM SHANG)

TIBET DE L'EST OU CHINE, XVIIIEME SIECLE

细节
THANGKA REPRESENTANT JAMPAL SANGWA (LE VENERABLE GYIM SHANG)
TIBET DE L'EST OU CHINE, XVIIIEME SIECLE
Il est représenté assis devant une maison sur un fauteuil devant une table sur laquelle sont posés un compas en ivoire, des vases, un rouleau, un brûle-parfum et un plateau de fruits. Il tient dans ses mains un livre. Deux serviteurs sont à ses côtés, des adorateurs devant lui lui apportent des offrandes. Jnanasattva Manjushri et Padmakara (Padmasambhava) sont représentés en haut à droite et Jambhala en bas à gauche.

Dimensions: 85 x 58 cm. (33 ½ x 22 7/8 in.), encadré
来源
Property from an important European private collection, in the collection prior to 1989.
注意事项
This item will be transferred to an offsite warehouse after the sale. Please refer to department for information about storage charges and collection details.
更多详情
A THANGKA DEPICTING JAMPAL SANGWA (THE VENERABLE GYIM SHANG)
EASTERN TIBET OR CHINA, 18TH CENTURY

荣誉呈献

Tiphaine Nicoul
Tiphaine Nicoul Head of department

拍品专文

The present painting is a rare depiction of the Chinese master, Jampal Sangwa, also known as the venerable Gyim Shang. Jampal Sangwa was a master of astrology, and through his study of geomancy, was able to lay out the buildings of Samye Monastery, the oldest Buddhist institution in Tibet. Here, the venerable master sits in front of the gate to the completed monastery, and holds a Confucian manuscript on astrology while consulting a compass resting on the table in front of him. The Nyingma master, Padmasambhava, and the bodhisattva, Manjuvajra, sit on lotus blossoms amidst the clouds above, while the wealth deity, Jambhala sits on a conch shell over a lotus blossom in the bottom right corner. The depiction of the clouds and the composition of the painting, with the receding middle ground, are characteristics of 18th-century imperial Chinese Buddhist paintings, but the overall palette and the depiction of the figures is more in keeping with paintings from the province of Kham in Eastern Tibet, thus demonstrating the influence of the former on the latter at this time.

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