A PAINTING DEPICTING BUDDHA AND A GROUP OF FOURTEEN BODHISATTVAS QING DYNASTY, KANGXI PERIOD

distemper on silk, delicately painted with the figure of Buddha seated on a triple lotus throne in dhyanasana, the right hand in varadamudra, the left in vitarkamudra, wearing  red and green diaphanous robes falling over his left shoulders, all beneath a canopy tied with bejewelled tassels, flanked with fourteen bodhisattvas, including Manjushri, Avalokiteshvara and Padmasambhava, each with a yellow halo

Brandt Asian Art, London.

There is an area of water damage to the middle right edge. Various areas of tear and repair, including but not exclusive to a vertical tear to the top right edge and corner, the area near the buddha's legs, and the mid and upper left edge of the painting. There are overall extensive crease lines and associated loss/tear, suggesting the painting may have been folded or rolled. The colours are generally well preserved.
"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."

The painting depicts a primordial Buddha in his paradise seated beneath a canopy on a lotus throne and accompanied by fourteen bodhisattvas, including Avalokiteshvara in the foreground to the right holding the green kundika water vessel and with a diminutive figure of Amitabha in his crown. Other bodhisattvas hold ruyi sceptres, sutras, jewels, with the outermost having hands clasped together in anjali mudra. Tiered offering vessels on either side contain flowers and auspicious gems. The painting is distinguished by delicate brushwork, the quality of the diaphanous intersecting haloes and the serenity and otherworldliness of the Buddha and bodhisattvas gazing out of the picture as one. Paradise scenes are known in China from at least the Tang dynasty (618-907) and were popular mural decoration at Dunhuang: for two portable paintings from Dunhuang in the British Museum depicting Bhaishajyaguru’s paradise and Maitreya’s paradise see W. Zwalf, ed, Buddhism: Art and Faith, London, 1985, pp. 216-7, cat. nos 314, 315.