清十八世紀 綠度母唐卡 鏡框

détrempe sur tissu
assise en lalitasana sur un trône en forme de lion soutenu par une fleur de lotus, entouré par la farandole des 21 taras, avec en-dessous Changkya Hutuktu Rolpai Dorje flanqué du Bouddha Nagaraja et d'Avalokiteshvara Simhanada, puis Mahakala et Begtse et un Naga émergeant des flots tumultueux pour offrir un joyau ratna, encadré sous verre

Formerly in the Collection of Berti Aschmann, Zurich.

The painting was examined out of the frame. It is attached to a cardboard back with museum tape in six different spots. There are inscriptions in red ink in TIbetan on the reverse behind each figure featured on the painting. The painting is in good overall condition. There are small superficial areas of loss to the pigments scattered across the painting, particularly along the upper and lower, left and right edges of the painting, some of which have been lightly retouched. There is a ca. 4 x 2cm large area on the right side of the lotus base which may have been retouched. Overall the colours are of a more saturated rich tone than the catalogue illustration suggest. The painting is finely painted with a lot of details and highlights in painted in gold.
"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."

This rare Qianlong period painting evokes the tantra of The Twenty-One Praises of Tara introduced to Tibet in the eleventh century by the eastern Indian guru Atisha Dipamkara (982-1054?), and further expounded by the Qianlong imperial preceptor Rolpai Dorje (1717-1786) who is depicted in the upper register of the painting. The appearance of the blue Nagaraja Buddha seated next to Rolpai Dorje is further reference to Atisha who introduced the meditational deity to Tibet in the form of Nageshvara Raja, King of the Nagas: a serpent-bodied Naga emerges from the ocean in the lower register of the painting bearing a jewel as an offering to Tara. Rolpai Dorje was renowned for his advocacy of ancient Indian source teachings, and his appreciation of early foreign sculpture that inspired Tibetan art and Buddhism.