西藏 十五世紀 密集金剛唐卡 |

“The Circle of Bliss: Buddhist Meditational Art”, Los Angeles County Museum of Art, 5 October-11 January 2003; and Columbus Museum of Art, 6 February-9 May 2004.

“Goddess: Divine Energy”, Art Gallery of New South Wales, Sydney, 13 October-28 January 2006.

Heather Stoddard, “Early Tibetan Paintings: Sources and Styles (11th-14th centuries AD)”, in Archives of Asian Art 49: pp. 26-50, 1996, fig. 26

Amy Heller, Tibetan Art: Tracing the Development of Spiritual Ideals and Art in Tibet, Milan, 1999, cat. no. 97

John C. Huntington and Dina Bangdel, The Circle of Bliss: Buddhist Meditational Art, Chicago, 2003, p. 439, cat. no. 135.

Jackie Menzies, ed, Goddess: Divine Energy, Sydney, 2006, p. 242, cat. no. 151.

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我們很高興為您提供上述拍品狀況報告。由於敝公司非專業修復人員，在此敦促您徵詢其他專業修復人員，以獲得更詳盡、專業之報告。

準買家應該檢查每件拍品以確認其狀況，蘇富比所作的任何陳述均為主觀看法而非事實陳述。雖然本狀況報告或有針對某拍品之討論，但所有拍賣品均根據印於圖錄內之業務規則以拍賣時狀況出售。

The painting of the celestial couple is one of the most elegant Tibetan works from the early fifteenth century, a masterpiece of design and execution. The pure red space of the shrine serves to highlight the dynamic line of the monumental figures. Subtle blue shading gives dimension to the goddess’s lithe form draped with scarves and exquisite gold jewellery. Rarely is this iconographic subject so clearly delineated, allowing the viewer to follow the contours of the bodies, the flow of the scarves, examine hands and ritual implements silhouetted against the red background, and to gaze upon the otherworldly countenance of Guhyasamaja and his consort.

The thangka is painted in the classic central Tibetan fifteenth century style, with the retinue and lineages arranged in geometric registers around the central shrine, cf. jewellery design, the geometric arrangement of the retinue deities in registers around the large central figure, and the shape of niches within the registers with the fifteenth century Vajrabhairava painting in the collection (see lot 923).

Like the Vajrabhairava, the Guhyasamaja may also have been commissioned for a Gelukpa patron. For a comprehensive discourse on the iconography and the importance of this painting of Guhyasamaja, see the essay by Cathleen Ann Cummings in John C. Huntington and Dinah Bangdel, The Circle of Bliss: Buddhist Meditational Art, Chicago, 2003, pp. 438-40.