type
status
date
slug
summary
tags
category
icon
password
AI summary
Tibetan Buddhist art often features imagery related to death and the afterlife, serving as a reminder of the transient nature of life and the importance of diligent practice. This characteristic deeply fascinates collector Triay. The exquisite pieces in the "Triay Collection of Himalayan Art" auction, while seemingly bizarre, are imbued with captivating allure, offering collectors a rare opportunity to delve into Buddhist lore and practice.
Several highlight lots feature the Citipati, a deity often depicted as skeletal figures. They are shown either alone or in pairs, the latter resembling a dancing couple, their limbs intertwined in graceful harmony. Notable pieces include two sets of 19th-century Mongolian satin-embroidered Citipati dance costumes and boots, complete with silver-inlaid metal masks (lot 167, est. €80,000-120,000), and a 19th-century Mongolian painted satin-embroidered Citipati dance costume and boots with a painted papier-mâché mask (lot 162, est. €40,000-60,000). These figures are considered embodiments of deities, each detail of their attire meticulously designed. The Citipati are crowned with five-skull tiaras and parasols, their wide, startled eyes and gaping mouths emphasizing their intimidating appearance.
Edward Wilkinson, Global Head of Indian, Himalayan, and Southeast Asian Art at Bonhams, has selected five exceptional pieces from the auction to share.
Steel and Gilt Copper Repoussé Inlaid Oracle Mirror (19th Century)
Oracle mirrors were used by designated oracles for tantric divination, with the oracles entering a trance state to make predictions about future events. The actual rituals and related iconography remain relatively obscure, likely originating from early Central Asian indigenous practices. By the 17th century, with the support of the government at the time, the practice of divination using the Nechung Oracle became prevalent.
At the center of the mirror is the Sanskrit seed syllable "hrih" of Amitabha, invoking the Buddha of Infinite Light. This exquisitely detailed mirror employs repoussé and inlay techniques. The coral and turquoise decorations, representing the Four Noble Truths, are eye-catching and perfectly complement the mirror's superior quality. It has been exhibited and published in several major exhibitions over the past three decades, making it a true masterpiece of Himalayan religious art.
Painted Clay and Wood Yamantaka Sculpture (18th/19th Century)
The Tibetan Buddhist pantheon is vast and intricate. This painted clay and wood sculpture of Yamantaka is rendered with great detail.
When the Lord of Death, Yama, ravaged Tibet, the people sought help from Manjushri. Manjushri transformed into Yamantaka (the conqueror of death, also known as Vajrabhairava), who subdued Yama and made him the lord of hell. Yamantaka is the wrathful manifestation of Manjushri and is also known as 'the acute protector'.
Gilt Copper Inlaid Silver Staffed Hayagriva Sculpture (17th Century)
This exquisitely crafted gilt copper statue depicts the meditation deity Hayagriva, known as the Black Hayagriva, which is very rare in Tibetan sculpture.
The figure can be identified by the horse's head emerging from the rear of its crown and by its layered silk robes. The statue is lively and structurally profound, and it was originally intended for personal worship within a gau box or placed in a home or temple shrine.
Compared to lot 133, the Yamantaka, this Hayagriva sculpture is more compact. While smaller in size, it retains all the details. The artist has ingeniously crafted the handles of the weapons held in its hands in silver and inlaid them with dazzling turquoise. The back of the sculpture is also meticulously crafted, with a gilded copper plate sealing it, highlighting the preciousness of the consecrated objects placed inside.
Painted Papier-Mâché Inlaid Silver Wrathful Deity Mask (19th Century)
This mask is one of the most powerful and dramatic Tibetan dance masks to appear on the market to date. It demonstrates the artist's mastery: sharp eyes convey captivating alertness and power, bright eyebrows are depicted in gold, and wild, thick hair is taken from a yak. Monks wear such extraordinary masks during religious festivals, such as Saga Dawa, which commemorates the Buddha's birth, enlightenment, and parinirvana.
The water buffalo head can be interpreted in different ways, often associated with the Lord of Death, Yama. Manjushri, in his wrathful manifestation as Yamantaka, uses wisdom to conquer death and expel forces that oppose law and goodness.
Painted Satin-Embroidered Citipati Dance Costume and Boots with Painted Papier-Mâché Mask (19th Century)
This stunning costume was featured in the provocative exhibition "Remember You Must Die" at the Rubin Museum of Art in New York in 2010. It is designed to inspire awe and fear with a five-skull tiara topped by a parasol, a terrifying gaze, and a gaping mouth.
Such costumes are worn during Cham dances, which are narrative reenactments of scenes intended to tell stories and invoke deities. Cham dances originated in Tibet and later became prevalent in most regions of the Himalayas. During local temple ceremonies, monks wear these costumes to invoke the deities they represent. Cham dance costumes are exceptionally beautiful, composed of satin-embroidered and appliquéd dance attire and boots, paired with papier-mâché masks.
Accompanied by the sounds of horns, cymbals, and drums, and coupled with dance movements, the ritual displays a dramatic and vibrant invocation of deities. Wearing the Citipati costume symbolizes beseeching the protective energy associated with these skeletal deities and serves as a reminder of impermanence.
Loading...
