Lot 314
  • 314

Sitatapatra en alliage de cuivre doré Chine, Epoque Qianlong (1735-1795)

Estimate
20,000 - 30,000 EUR
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Description

la divinité à trois visages et six bras finement ciselée avec une parure de bodhisattva incrustée de corail et turquoise, une étole au dessus de ses épaules nues et une longue robe attachée à la taille avec une ceinture de pierreries, assise en vajraparyankasana, sur un socle de double lotus.



The finely cast and gilded image of the six-armed and three-faced goddess, wearing bodhisattva jewelry inset with coral and turquoise, a scarf draped over her naked shoulders and a long skirt fastened at the waist with a jewelled girdle, the goddess seated in vajraparyankasana on a double lotus pedestal

Condition

Good condition overall. Some of the attributes missing from the hands or partly there. Some of the inlaid stones may have been replaced. Light wear and a few light scratches to the gilding but overall the piece is in fine condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Catalogue Note

The Goddess of the Victorious White Parasol is a form of Tara, the most popular female bodhisattva in the Tibetan pantheon. Her cult is particularly popular with the Gelukpa sect, the Tibetan religious order that held influence at the court of the Qianlong emperor. The iconography of the deity is drawn from the Tibetan pantheon while the execution of the sculpture is Chinese: cf. a seventeenth or eighteenth century Tibeto-Chinese gilt image of the goddess Ushnishavijaya, see Marylin M. Rhie and Robert A. F. Thurman, Wisdom and Compassion: The Sacred Art of Tibet, London, 1991, p.318, cat. no. 124; compare the conical earrings, the manner in which the hair tresses fall onto the shoulders and the rich gilding.