The following three paintings, lots 60, 61, and 62, belong to a larger group depicting a mandala that would have hung in a temple hall or shrine. Compare paintings probably from the series and the same atelier; see Huntington and Huntington, 1990, pp. 346-8, no. 119. The paintings are mounted in circa eighteenth century silk brocades probably replacing the original blue cloth mounts by which such paintings are hung. Silk veils would have protected the paintings from temple smoke and grime, accounting for their exceptional condition. For further related paintings of the genre; see Kossak and Casey Singer, 1999, pp.187-90, no. 54. Compare the refined Newari style of the fourteenth century Shalu murals in Southern Tibet; see ibid, p. 44, figure 21, and other Tibetan works probably painted by Nepalese artists; see ibid, p. 152, no. 41. There is debate over the iconographic context of the paintings as the group is incomplete; the Bhaishajyaguru in the Jucker series, lot 62, might suggest the focus of the group to be somehow related to the Medicine Buddha mandala.
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