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Lot Essay
The present painting originates from the ancient Kingdom of Guge, a small Western Himalayan kingdom which was founded by King Yeshe-Ö and was established, in phases, between the 10th through 17th centuries. Its artistic tradition was heavily influenced by Kashmiri sculptural and painting styles due to the presence of Kashmiri teachers and artisans active in the area during the period of the second dissemination of Buddhism in Tibet (c. 950-1200 CE). The 15th century saw an artistic renaissance in the Guge kingdom, with the flourishing of artists producing devotional works of high merit, including thangka paintings, murals, and bronze cast sculptures. Guge, markedly influenced by Kashmiri and Indo-Nepalese styles and compositions, stands among the most celebrated images in the region.
With the warm, intense colors signature to the Ngari painting style, the present work is a master work of Guge painting. The richly gilt Shakyamuni sits on a highly detailed and architectural lotus throne pedestal, supported by snow lions. He wears an artfully folded patchwork robe, symbolic of his nonattachment. An elaborate throne back, or torana, is supported behind the Buddha in a richly ornamented manner, rising from longevity vases which support jewel-spewing makaras, leading to a central Garuda grasping a pair of nagas with his beak. A thick relief-like gold border outlines Shakyamuni’s nimbus, and hems of his heavy robe.
The central Buddha is flanked by the two of Shakyamuni’s closest disciples, Sariputra and Maudgalyayana. The triad are surrounded by the sixteen arhats, or Buddhist elders, each individualized with natural facial features and identifying attributes. The four lokapala, or guardian kings are depicted below the throne, on either side of a triad of Shadakshari Avalokiteshvara. Other figures represented include he laymen Hva Shang and Upasaka Dharmatala In each of the lower corners. The teacher Marpa Lotsawa and the yogi Milarepa are shown outside of either side of the elaborate torana.
The present painting represents the strong artistic legacy the Guge painting tradition. Compare the composition, thick patchwork robe, architectural lotus throne, and complex torana to a series of murals at the Red Temple at Tsaparang ( see Himalayan Art Resources, item no. 62238). Another 15th century Western Tibetan painting attributable to the Guge Kingdom, depicting Shakyamuni with the Sixteen Arhats, is in the collection of the Rubin Museum of Art (acc. No. C2003.50.7). The two paintings share remarkable similarities in regard to style and composition, though it can be argued that certain details in the present lot have been treated with considerably more care, particularly the dimensionality of the lotus pedestal and throne, the portraits of the arhats and the heavy application of gold throughout.
With the warm, intense colors signature to the Ngari painting style, the present work is a master work of Guge painting. The richly gilt Shakyamuni sits on a highly detailed and architectural lotus throne pedestal, supported by snow lions. He wears an artfully folded patchwork robe, symbolic of his nonattachment. An elaborate throne back, or torana, is supported behind the Buddha in a richly ornamented manner, rising from longevity vases which support jewel-spewing makaras, leading to a central Garuda grasping a pair of nagas with his beak. A thick relief-like gold border outlines Shakyamuni’s nimbus, and hems of his heavy robe.
The central Buddha is flanked by the two of Shakyamuni’s closest disciples, Sariputra and Maudgalyayana. The triad are surrounded by the sixteen arhats, or Buddhist elders, each individualized with natural facial features and identifying attributes. The four lokapala, or guardian kings are depicted below the throne, on either side of a triad of Shadakshari Avalokiteshvara. Other figures represented include he laymen Hva Shang and Upasaka Dharmatala In each of the lower corners. The teacher Marpa Lotsawa and the yogi Milarepa are shown outside of either side of the elaborate torana.
The present painting represents the strong artistic legacy the Guge painting tradition. Compare the composition, thick patchwork robe, architectural lotus throne, and complex torana to a series of murals at the Red Temple at Tsaparang ( see Himalayan Art Resources, item no. 62238). Another 15th century Western Tibetan painting attributable to the Guge Kingdom, depicting Shakyamuni with the Sixteen Arhats, is in the collection of the Rubin Museum of Art (acc. No. C2003.50.7). The two paintings share remarkable similarities in regard to style and composition, though it can be argued that certain details in the present lot have been treated with considerably more care, particularly the dimensionality of the lotus pedestal and throne, the portraits of the arhats and the heavy application of gold throughout.