AN EXCEPTIONALLY RARE BUDDHIST THANKA OF A SEATED GUANYIN MING DYNASTY, YONGLE / XUANDE PERIOD

ink and colour on silk, hanging scroll, framed
superbly painted, the deity seated in dhyanasana upon a multi-tiered base with a low waisted lotus petal seat, with hands in dhyanamudra, dressed in a long flowing robe with hems edged with gold painted lotus scrolls on a blue ground, the interior of the robe flipped over to reveal dragons on the underside, the serene face with small almond-shaped downcast eyes, framed by long pendulous lobes weighed down by heavy earrings, the head crowned with a five-pointed diadem, all backed by an elaborate mandorla with flaming scrolls enclosing the Five Transcendental Buddhas, flanked by a pair of apsaras flying on clouds against a rich cerlulean blue sky, all below a three-tiered canopy

Apart from minor tears to the top edge and a few minor tears on the left and right sides, the overall condition is remarkably good. The colours remain very fresh and bright. There is a little loss of the blue pigment on the robe of Guanyin, but overall the pigments are in very good 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."

It is extremely rare to find early Ming dynasty thankas of this exceptional quality where the colours have retained their vibrancy and splendour to such high degree. The size of this piece is also noteworthy, indicating that it would have been placed in a special location of a Tibetan monastery. The details of the painting are striking, especially the rich ornamentation of the Guanyin's robe, the multi-tiered platform and the background mandorla. Thankas of this superior quality were commissioned by the emperor and often presented as gifts to Tibetan religious hierarchs or institutions. Both the Yongle and Xuande emperors of the early Ming period were keen devotees of Tibetan Buddhism and thankas made during their reign were always created and consecrated to the highest standards of religious procedure. The style of the painting represents a new hybrid Tibeto-Chinese trend that was designed by Chinese, Tibetan and Nepalese artists working at the imperial workshops of the Ming court. A line drawing of a Tibetan Buddhist temple interior, showing the placement of painted consecration thankas is illustrated in J.C.Y. Watt and A.P. Wardwell, When Silk was Gold, New York, 1997, p. 209, fig. 90.

Ming period thankas depicting Guanyin or Avalokitesvara, the Goddess of Mercy, are rare and more common are those painted with the emperors' favourite Lamas which are immortalized in these portraits or with archetypal deities of Tibetan Esoteric Buddhism. For example see two thankas depicting Shakya Yeshe, included in the exhibition Tibet: Treasure from the Roof of the World, The Bowers Museum of Cultural Art, Santa Ana, 2003, cat.nos 9 and 10, the former from the collection of the Tibet Museum, Lhasa, and the latter from the Norbulingka Palace. Compare also examples of early Ming period thankas illustrated in Michael Henss, 'The Woven Image: Tibeto-Chinese Textile Thankas of the Yuan and Early Ming Dynasties', Orientations, November 1977, pp. 30-35; and two thankas, one painted with Samsara and the other with Yamantaka, both from the Potala Palace collection, Lhasa, included in the exhibition Treasures from Snow Mountains. Gems of Tibetan Cultural Relics, Shanghai Museum, Shanghai, 2001, cat.nos. 9-10.

A thanka painted with a portrait of a Shakya hierarchy, attributed to the 15th century was sold in our New York rooms, 22nd September 2005, lot 44; and another thanka depicting Mahakala Panjarnatha, Lord of the Pavilion, was sold at Christie's New York, 29th March 2006, lot 275.

For an earlier example of a thanka painted with the image of Avalokitesvara, see one attributed to the 12th century, in the Potala Palace, included ibid., cat.no. 6. Catalogue notes to this piece mention that Avalokitesvara was widely worshipped as a protector goddess in Tibet and the Potala Palace piece was painted by the Dathang Sect.