十五世紀 藏傳羅漢坐像唐卡

probably Vanavasin, the aged arhat seated in a rocky landscape, wearing a voluminous robe made of variously patterned late Yuan and early Ming dynasty textiles, holding a flywhisk and gnarled ruyi, his weary face encircled by a blue halo detailed with fine features set in a benevolent expression, with thick billows of clouds above

This thangka, probably depicting Vanasavin, is a fragment of what was‎ probably a massive thangka depicting the 18 luohans. The fabric is worn and distressed in areas with some loose threads as visible on the photo, predominantly below the arrhat left ear and on his neck and right arm. There are further holes on the cloud formation above. The textile is generally soiled and faded from its exposure to light, although the actual colours are rather warmer and more subdued compared to the catalogue photo. They are closer to the actual illustration for the lot compared to the detail on the cover of the printed catalogue. The old fabric border is soiled and distressed. The thankgas is lined in the back with a more recent fabric.
"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."

本品經拼接而成，取元末或明初之材，原或為巨幅唐卡之殘片，飾釋迦牟尼佛及十六羅漢像。此類巨幅唐卡，為佛事之所用，或掛於寺牆一側，或垂於山壁一端，自十四世紀始，即成藏傳佛教之習俗。Pal教授於其書中記，第四世噶瑪巴若佩多傑曾得唐卡一幅，逾十一臂寬，飾釋迦牟尼佛像，兩側為文殊及彌勒菩薩，詳見Pal，《Art of Tibet》，1969年，頁51。此類之材，源自中國，然見其工者，必是西藏藝匠之所為。