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拍品专文
These well-preserved gilt copper repoussé panels are from a larger throne back ensemble, an architectural framework designed to enshrine a central deity, and surmounted by an elaborate torana (arch of glory). In the full ritual context, such thrones served not only as physical supports but as cosmological diagrams, situating the deity at the axis of the sacred universe.
Each panel is richly animated with a tiered composition populated by divine and mythical beings. On the inner edge of each, are sensitively modelled standing bodhisattvas, each with expressive faces reflecting their reverence, facing inward toward the absent central image. They hold flower stems, possibly lotus or utpala blossoms, symbols of purity and enlightenment. Flanking the bodhisattvas are elephants supporting snow lions, a symbolic pairing frequently found in throne base iconography to represent stability, majesty, and the fearless defence of the Dharma. Above them, the writhing figure of Garuda, the mythical half-human, half-avian protector, spreads its wings in dramatic tension, symbolising victory over the nagas and destructive forces. The visual hierarchy of these figures echoes their roles within Buddhist cosmology: earthly strength (elephant), fierce purity (snow lion), divine liberation (Garuda), and enlightened compassion (bodhisattva). The shape of the panels and edges together with the impressive bodhisattvas match closely with another pair in the Los Angeles County Museum of Art (M. 78.106.3).
Compare with a complete torana sold Christies New York, 13 September 2011, lot 337 featuring a comparable arrangement of divine figures and stylistic handling of drapery and anatomical form and another is in the Norton Simon Museum of Art, (N.1983.1.1.S).
The present panels exemplify not only the sculptural and devotional sophistication of late Malla-period Nepalese religious art, but also the architectural richness of Himalayan Buddhist ritual spaces. As rare survivals, they offer a vivid glimpse into the monumental visual language that once surrounded sacred images at the heart of temple worship.
Each panel is richly animated with a tiered composition populated by divine and mythical beings. On the inner edge of each, are sensitively modelled standing bodhisattvas, each with expressive faces reflecting their reverence, facing inward toward the absent central image. They hold flower stems, possibly lotus or utpala blossoms, symbols of purity and enlightenment. Flanking the bodhisattvas are elephants supporting snow lions, a symbolic pairing frequently found in throne base iconography to represent stability, majesty, and the fearless defence of the Dharma. Above them, the writhing figure of Garuda, the mythical half-human, half-avian protector, spreads its wings in dramatic tension, symbolising victory over the nagas and destructive forces. The visual hierarchy of these figures echoes their roles within Buddhist cosmology: earthly strength (elephant), fierce purity (snow lion), divine liberation (Garuda), and enlightened compassion (bodhisattva). The shape of the panels and edges together with the impressive bodhisattvas match closely with another pair in the Los Angeles County Museum of Art (M. 78.106.3).
Compare with a complete torana sold Christies New York, 13 September 2011, lot 337 featuring a comparable arrangement of divine figures and stylistic handling of drapery and anatomical form and another is in the Norton Simon Museum of Art, (N.1983.1.1.S).
The present panels exemplify not only the sculptural and devotional sophistication of late Malla-period Nepalese religious art, but also the architectural richness of Himalayan Buddhist ritual spaces. As rare survivals, they offer a vivid glimpse into the monumental visual language that once surrounded sacred images at the heart of temple worship.