Indian, Himalayan & Southeast Asian

Indian, Himalayan & Southeast Asian Art New York I March 16, 2021 Bonhams © 2021 Bonhams & Butterfields Auctioneers Corp. All rights reserved. Indian, Himalayan & Southeast Asian Art New York | Tuesday March 16, 2021 at 6pm

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Indian, Himalayan, and Southeast Asian Art

New York, Hong Kong, Singapore Edward Wilkinson Global Head

Mark Rasmussen Head of Sales

Doris Jin Huang Specialist

Asmara Rabier Cataloguer

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Chinese Works of Art and Paintings

New York Dessa Goddard US Head, Asian Art

Michael Hughes New York

Bruce Maclaren New York

Global Representatives

Bobbie Hu Taipei

Jie Wang Shanghai

Vivian Zhang Beijing

Bernedette Rankine Singapore

Andrea Bodmer Zurich

Livie Gallone Molloer Geneva

Catherine Yaiche Paris

Christine de Schaetzen Brussels

Koen Samson Amsterdam 1 - 300 No lots

301 A GILT COPPER ALLOY SHRINE TO DANCING GANESHA NEPAL, DATED 1849 CE With a dedicatory inscription around the base naming the donors and dated Nepal Samvat 969 (1849 CE). Himalayan Art Resources item no.48052 17 3/4 in. (45 cm) high

$30,000 - 50,000

尼泊爾 1849年銅鎏金舞姿象神像

Set before a flaming aureole, Ganesha extends his legs in how the dancing attitude (natyasthana) is depicted in Nepal. Two little lotus-borne rodents are underfoot like a pair of skates. His four arms are cast in a balanced array, his hands holding typical attributes: a set of mala beads, an axe, his broken right tusk, and a bowl of sweets he is sampling with his trunk. Fabulously dressed, Ganesha wears a tall, plumed crown like the principal dancer at one of the Great Gatsby’s parties.

On the subject of Dancing Ganesha, Grewal writes:

“[Ganesha dancing] is possibly inspired by the image of Shiva as the divine dancer. But while Shiva’s dance is of cosmic significance incorporating creation and destruction, Ganesha’s does not carry such weighty consequence. His is a more playful version, almost rambunctious, appropriate for the mischievous ganas, associated with fun and frolic, whom Ganesha leads. Indeed, the ganas are often portrayed cavorting and playing musical instruments to accompany Shiva’s dance. Some myths present Ganesha dancing before his parents to entertain and divert them. Dance, in many cultures, is, of course, a form of prayer which creates a heightened consciousness and elicits energies that call forth the divinity within the self.” (Grewal, Book of Ganesha, New Delhi, 2012, p.130).

Nepalese depictions of Dancing Ganesha differ from those found in India. For example, he is shown with both feet on the ground or on a pair of rodents, rather than with one foot in the air. Nepalese depictions also do not dwell on the spectacle of how Ganesha frolics despite his huge belly, instead giving him a smaller potbelly and a more athletic overall physique. Compare several Nepalese stone steles of the subject published in von Schroeder, Nepalese Stone Sculptures, Vol.I, Weesen, 2019, pp.316-7, nos.101A-H. Among them, a c.18th-century stele (no.101E) has a similar crown with thin, tall leaves. Also, whereas Indian images often emphasize Ganesha’s love of sweets, Nepalese images focus on his ability to grant boons, depicting wish-fulfilling gems (cintamani) similarly shaped to those being nibbled on by the rodents beneath his feet. It is also common for Nepalese Dancing Ganeshas to wear a garland of gems; while no garland is worn here, there is an incised band of circles bordering the hem of his lower garment, evoking such iconography along with the grape-like clusters found over his shins.

Published Gautama V. Vajracharya, Nepalese Seasons: Rain and Ritual, New York, 2016, pp.151, 153 & 154, no.48.

Exhibited Nepalese Seasons: Rain and Ritual, Rubin Museum of Art, New York, 6 May 2016 — 27 March 2017.

Provenance Collection of John & Karina Stewart, by 2005

4 | BONHAMS INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 5 302 A PAIR OF CAST COPPER PLAQUES OF DURGA These finely cast plaques depict two manifestations of the Hindu NEPAL, 18TH CENTURY goddess Durga, a powerful incarnation of the Mother Goddess (Devi). With remains of gilding. According to the Garuda Purana she can have four, eight, twelve, Himalayan Art Resources item nos.16918 & 16919 eighteen, or twenty-eight arms, and Durga is represented in many ways 9 in. (22.8 cm), the larger in Nepal. She is often shown standing in pratyalidhasana, a dramatic pose with one foot raised and the other extended, as in both panels. $10,000 - 15,000 In one, she steps on her lion mount while holding a sword, shield, and bowl, and in the other she steps on Garuda while holding a discus, 尼泊爾十八世紀難近母銅像二尊 staff, and bowl. Compare the elongated lotus petals and stylized flame mandorla to a repoussé panel of Durga sold at Bonhams, New York, 13 March 2017, lot 3050.

Provenance Soo Tze Orientique, Melbourne, 2000s

6 | BONHAMS 303 A POLYCHROMED CLAY FIGURE OF This charismatic portrait is naturalistically modelled and finely painted ZHABDRUNG NGAWANG NAMGYAL with gold decorating the cushion, robe, and hat with auspicious BHUTAN, CIRCA 18TH CENTURY symbols. Recognized by his distinctive long beard and the large, Himalayan Art Resources item no.16917 fan-shaped hat worn by the Drugpa Kagyu order, this figure 8 in. (20.3 cm) high commemorates Zhabdrung Ngawang Namgyal (1594-1651), a spiritual and political leader who established the Drugpa Kagyu in Bhutan $20,000 - 30,000 in 1616 and unified the country in 1634. His identifying features are shared by a thangka in the Tango Buddhist Institute, Bhutan 不丹約十八世紀彩繪泥塑夏仲阿旺朗傑像 (Bartholomew & Johnston (eds.), The Dragon’s Gift: The Sacred Arts of Bhutan, Chicago, 2008, pp.338-9, no.85), another polychromed wood figure with similar high cheekbones (ibid., pp.336-7, no.84), and a later thangka in the Field Museum of Natural History, Chicago (HAR 54387). Also see Christie’s, New York, 20 March 2012, lot 139, and HAR 33822.

Provenance Private Collection, California, acquired mid-1980s

INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 7

304 A THANGKA OF ARHAT NAGASENA The Karma Kagyu order headed by the Karmapa lineage was once the SCHOOL OF CHOYING DORJE, wealthiest in Tibet until it lost a civil war with a Gelug-Mongol alliance. EASTERN TIBET OR YUNNAN PROVINCE, In 1645, leading what little remained of his order, Choying Dorje fled 17TH/18TH CENTURY Tibet, eventually taking refuge for 29 years in the Chinese city of Lijiang Himalayan Art Resources item no.90513 (Yunnan province). There, according to his biographies, he created a 38 7/8 x 20 5/8 in. (73.1 x 52.4 cm) copy of a famous set of silk arhat paintings kept at Gangkar monastery in Sichuan province called the Drakthokma Arhats (“Arhats atop $30,000 - 50,000 Rocks”). In another instance, he is recorded tracing his set with heavy ink, as if making further iterations. Debrecezny argues this Nagasena, 確映多傑風格藏東或雲南十七/十八世紀那迦犀尊者唐卡 together with the identified group, represent iterations of the Tenth Karmapa’s Drakthokma Arhats. Further supporting the attribution, this Tibetan arhat paintings form a special genre borrowing heavily from Nagasena has a strikingly similar composition, including a number the Chinese arhat tradition. Yet, compared to most Tibetan thangkas, of idiosyncratic elements, that a painting of the same subject in the this painting has an even stronger Chinese aesthetic, adopting not only Lijiang Municipal Museum shares, which is clearly in the style Choying traditional figural and landscape elements, but also Chinese brushwork Dorje is best known for (ibid., p.194, fig.7.2). techniques and the medium of monochromatic ink on silk. In fluid lines, spontaneous ink wash, and wet dots, this remarkable painting creates Published a dynamic image of Arhat Nagasena sitting on a craggy rock in front Karl Debreczeny, The Black Hat Eccentric: Artistic Visions of the Tenth of rolling waves. One of the Sixteen Great Arhats, he is best known for Karmapa, New York, 2012, pp.194, fig.7.1 (also detailed across pages his conversations with the Indo-Greek king, Menander I (r.165/155-130 192 & 193). BCE). Nagasena is often depicted holding a staff and a vase. Here, the vase, which is decorated with peonies and a phoenix, is carried by a Provenance charismatic gnome who pours an ocean from it, drawing the amiable The Rezk Collection attention of an auspicious dragon. The Southern Alleghenies Museum of Art, Pennsylvania, deaccessioned in 2020 A leading expert on the life and artwork of the Tenth Karmapa, Choying Concept Art Gallery, 10 June 2020, lot 49 Dorje (1604-1674), Karl Debreczeny identifies this and eleven other paintings that form part of, or represent copies of, an arhat set created by Choying Dorje—Tibet’s most eccentric artist. All painted in this monochromatic style, nine of the eleven thangkas are preserved at Palpung monastery in Eastern Tibet, while the remaining two are at the Brooklyn Museum and the Rubin Museum of Art (Debreczeny, The Black Hat Eccentric New York, 2012, pp.194-201). Debreczeny argues against an alternative attribution to Situ Panchen (1700-1774), the founder of the Palpung painting style, made by the scholar Karma Gyaltsen and some monks at the Palpung. Instead, referring to the Tenth Karmapa’s biographies, he concludes that the group represents, “copies that Situ commissioned in the eighteenth century based on Choying Dorje’s paintings or products of his workshop” (ibid., p.202).

The Arhat Genre The overwhelming majority of paintings so far identified as being in the style of Chöying The Black Hat Dorjé, fifty out of sixty-four that I am aware of, are arhats.608 It is difficult to tell if this is representative of his overall production and his thematic and stylistic interests during his long painting career. An examination of textual descriptions of the Tenth Karmapa’s paint- Eccentric ings, however, corroborate this extant visual evidence and shows that the Sixteen Arhats was in fact the most common theme recorded. For example, in surveying the excised biography ARTISTIC VISIONS OF THE by Situ Paṇchen and Belo, which contains the greatest detail about the Karmapa’s artistic TENTH KARMAPA production, arhats are by far the most common painting theme mentioned: some twenty- seven times, roughly twice as many as the next most common theme of Avalokiteśvara with fourteen. The Karmapa self-identifies with both these subjects, and is considered an emana- tion of Avalokiteśvara.609 While the Sixteen Arhats was a prominent theme throughout his painting career, more than half (about seventeen of twenty-seven paintings) were produced during the twenty- five-year period from 1647 to 1673 when he lived in the kingdom of Lijiang, suggesting that he became increasingly interested in this theme and the styles associated with it during his stay there in exile. Beyond the Tenth Karmapa’s self-identification with his subject matter, it may have been the very nature of the arhat genre within the Tibetan tradition, being Chinese-derived and thus a rich vehicle of Chinese visual modes, that may have attracted the Karmapa to this genre and made it a convenient conduit through which to explore his The Black Hat artistic interests. Indeed, based on the body of works so far identified, his new style seems intimately linked with this genre. That the Tenth Karmapa’s arhat interest does not appear to chapter 7 be purely religious in nature is reinforced by the fact that such a production of arhats is not Eccentric reflected in the sculpture he is recorded as making or in known sculptures in his style. Genre, Style, As mentioned in the beginning of this discussion, the Sixteen Arhats was one of the and Medium ARTISTIC VISIONS OF THE earliest models the Tenth Karmapa copied and collected in his painting career. In 1629 he TENTH KARMAPA is recorded as composing the outlines and color for paintings of the Sixteen Arhats for the first time, and in a few instances some description is given of the individual paintings, such as Mahākāruṇika Surrounded by the Sixteen Elders and later in 1649 he copied a painting on silk of the Sixteen Elders (gnas bcu’i si thang), which was known as “the One from the Inner Sanctum of Tsal” (Tshal gTsang khang ma), of which the main figure Śākyamuni was [modeled after a statue] called the “Sumatran [Buddha]” (gSer gling ma).610 The Tenth Karmapa was already famous in his lifetime for the beauty of his depictions of this genre, as this theme was specifically requested: “In accord with [someone’s] having told him they needed paintings of the Sixteen Elders by his hand he gave them and thus, [the Karmapa] said that besides the shining of the colors (its beauty), they were not a good support for accumulat- ing longevity.”611 (One is tempted to take this as a kind of indirect acknowledgment by the Karmapa that these paintings were made more for art’s sake, as opposed to a purely religious motivation.)

Experimenting with Other (Ink) Styles Monochrome Ink Visual evidence suggests that the Tenth Karmapa experimented with other styles associ- KARL DEBRECZENY ated with the arhat genre. None of these works are inscribed but appear to be related to

193 FIG. 7.1, DETAIL

Cover and illustration from Karl Debreczeny, The Black Hat Eccentric: Artistic Visions of the Tenth Karmapa, Rubin Museum of Art, New York, 2012, pp.192 & 193.

10 | BONHAMS INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 11 305 A BRASS FIGURE OF VAJRAVARAHI NORTHEASTERN INDIA, PALA PERIOD, CIRCA 11TH CENTURY Himalayan Art Resources item no.16914 7 1/2 in. (19 cm) high

$400,000 - 600,000

印度東北部帕拉時期約十一世紀金剛亥母銅像

Provenance Nyingjei Lam Collection, acquired in the 1990s

Dancing on a corpse representing the human ego, Vajravarahi is a form of the most important female meditational deity (yidam) in Tibetan Buddhism, providing a route to enlightenment. Aloft in her right hand she wields a flaying knife (kartika), which tantric practitioners use in rituals to visualize flaying their own limited self- perception. In her left hand she holds a skull cup (kapala). The staff (khatvanga) cast in the crook of her left arm is a visual cue to her male counterpart Samvara, another key yidam. Also known as a “transformative deity”, a yidam serves as a transcendent role model, embodying a set of doctrines, meditations, and ritual practices that a tantric practitioner uses to transform their consciousness and be reborn instantly as the enlightened yidam itself. With her implements, garland of severed heads, and crown of dried skulls, Vajravarahi’s terrific vision confronts our mortal limitations. Yet, she does so with the grace and beauty of a young dancer poised entirely on the ball of her left foot. She has a composed, deliberate manner. Underfoot, swirling vegetal waters of the cosmos have given rise to the lotus she dances upon, as more vines rise to support her—for Vajravarahi is the sacred, cultivated blossom of Buddhist wisdom.

Rich with such expressive iconography, this inspired bronze of the goddess derives from the cradle of Tantric Buddhism in Northeastern India. The sculpture is cast in the Pala style of the 11th century, coinciding with the period in which devotion to Vajravarahi and related yidams emerged as central practices in Tantric Buddhism as it would subsequently be preserved in Tibet. Thus, this refined bronze is likely among the earliest depictions of the goddess in bronze.

Vajravarahi is a form of Vajrayogini, the most important female yidam, with a porcine head protruding from the right side of her skull (ibid., “Vajrayogini”). In Buddhist teachings, the pig represents ignorance, one of the three primary obstacles to enlightenment. Thus, Vajravarahi’s appearance alludes to her ability to confront and transform this poison into wisdom. There is a general scholarly consensus that Vajravarahi is an adaptation of the Hindu goddess Varahi, the female counterpart to the boar avatar of Vishnu, who raised the Earth from a cosmic watery abyss. The sculpture appears to evoke this heroic, divine act. Vedic literature frequently likens the Earth to a delicate young girl, embodied here by Vajravarahi, who is shown flowering out of chaotic vegetal waters represented by the scrollwork around the base.

12 | BONHAMS INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 13 Together with the band of plump lotus petals around the sculpture’s base, the exuberant scrolls draw on an iconographic convention that permeates Indic religions. Transcending earth, water, air, fire, and space, the aquatic flower symbolizes the sacred source of the cosmos—its stem is life’s umbilicus. In Buddhism, the image of the lotus arising from its murky bed is used as a metaphor for any sentient being’s ability to achieve enlightenment, regardless of their karmic debt. Below Vajravarahi’s right shin, a floral stem rises from the scrollwork and sprouts a wish-fulfilling gem, itself a microcosm of the sculpture’s overall sentiment, conveying the promise of the transcendent boon Vajravarahi represents for practitioners.

While the petaled rim of a lotus pedestal supports almost any bronze sculpture of a Buddhist deity that survives with its base, the vines and waters below are much rarer. They are sometimes seen in stone sculpture from the Pala period, but seldom carried over into bronze figures. Examples in stone can be found on two 9th-century steles of Avalokiteshvara and a 10th-century stele of Varaha (Asher, Nalanda, Mumbai, 2015, pp.112, 113 & 117, nos. 5.15, 5.16 & 5.22). An 8th-century stone panel from Nalanda offers a precedent for the Vajravarahi’s scrollwork in shallow relief (Chandra, Indian Sculpture, Washington, 1985, p.143, no.64). One reason for the rarity of depicting vegetal waters is that many Pala bronzes were cast separately from their original stands representing the subject, as one stand from the 12th century in the Metropolitan Museum of Art demonstrates (fig.1; 2009.21a–c). Bronze sculptural lotus mandalas also show the stem rising from water, such as a Vajratara mandala in the Indian Museum, Kolkata (Ray, Eastern Indian Bronzes, 1986, nos.281a & b). But, based on the few known examples, including two superlative bronzes from the 10th and 11th century of Buddha and Avalokiteshvara with large openwork roundels (Ray, ibid., nos.232 & 233), and a further 11th-/12th-century Manjushri sold at Sotheby’s, New York, 24 March 2011, lot 26 (for over two million dollars) with similar shallow scrollwork, this added symbolism was reserved for outstanding castings.

Fig.1 Foliate Pedestal for a Buddhist Image Late 12th century India (probably Bengal) Partially gilded brass, copper base H. 8 1/4 in. (21 cm); W. 7 1/4 in. (18.4 cm); D. 3 1/2 in. (8.9 cm) The Metropolitan Museum of Art, New York Purchase, The Manheim Foundation Inc. Gift and Rogers Fund, by exchange, 2009 (2009.21a–c)

14 | BONHAMS INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 15 The exceptional artist has embedded yet more symbolism into a technical detail of his creation. The waters brim with additional sprouts creeping over the sides of the lotus pedestal. The vines perform a structural function by supporting the figure, who would otherwise be connected to the base only by the weak point of the left foot. This technical knowhow was commonly employed by Pala artists, though rarely so elaborately. More often, long trailing scarfs or even a plain stem at the back were used as supports, as for a Hevajra in the Nyingjei Lam Collection (Weldon & Casey Singer, Sculptural Heritage of Tibet, London, 1999, p.21, fig.14). A later Tibetan copy of Vajrayogini in the Pala style shows a simple stem rising from the top of the base (HAR 57313), and another of Vajravarahi in the Metropolitan Museum of Art has a more elaborate support rising from the tail of a goose (fig.2; 2014.720.2). Yet, all pale in comparison to the creative vision and technical prowess exhibited by the variety of flowers reaching upward in celebration of this Vajravarahi.

The 10th, 11th, and 12th centuries saw a period of religious and artistic transfer between India and Tibet known as the Second Dissemination of Buddhism in Tibet. While many sculptures imitating the Pala style were produced in Tibet during and after the Second Dissemination, the nuance and depth of this Vajravarahi’s symbolism indicate an original model from Northeastern India. Indeed, the confident display of the knot tying Vajravarahi’s belt at the small of her back, the crisp pendants hanging from her necklace, and the lozenges in the bangle around her left wrist, representing human bone ornaments sometimes used in tantric rituals, evince the intricate bronze casting of the late Pala period. The insistence on figural plasticity in India’s material culture is alive in the suppleness of her waist and hamstrings. Rather than sacrifice a convincing portrayal of her balance in order to merely accomplish the iconography of her dancing, as is often done in Tibetan copies (fig.2), the trajectory of sprouting flowers cater to an ideal representation of her pose. Moreover, whereas Indian religious art aims to entice the deity with a sensuous body to temporarily inhabit, a Tibetan icon’s sacred energy is provided by consecrations lodged within it. Therefore, the absence of a consecration plate underneath the sculpture, or of any indication that it was ever meant to confine one, is another compelling indicator that the bronze is from Northeastern India.

Fig.2 Vajravarahi in a Wrathful Pose 13th century Central Tibet Copper alloy with turquoise, silver, and colors H. 8 3/4 in. (22.2 cm); W. 4 1/4 in. (10.8 cm); D. 3 3/8 in. (8.6 cm) The Metropolitan Museum of Art, New York Zimmerman Family Collection, Gift of the Zimmerman Family, 2014 (2014.720.2)

16 | BONHAMS INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 17 Helping to narrow the dating of the bronze to c.11th century, the flaying knife (kartika) in Vajravarahi’s right hand appears to have an early shape that subsequently fluctuates by the 13th century. Cast unambiguously here as a curved dagger, it differs from the wider crescent blades and ever-shifting positions of the handle represented across several 13th-century thangkas compiled as HAR set no.3765 (“Vajrayogini: Early Paintings”). However, an earlier Kadam thangka attributed c.1100 (fig.3; HAR 35845) depicts a knife more akin to the dagger in the present bronze, and in equally exacting detail. A 12th-century Pala bronze of Vajravarahi preserved in the Potala Palace Collection, Lhasa, also shows her brandishing a curved dagger (von Schroeder, Buddhist Bronzes in Tibet, Vol.I, Hong Kong, 2001, no.94A), while its comparatively reductive ornamentation and posture suggest it is a later casting. An excellent stylistic comparison in stone from the early 11th century is a famous Pala stele of Hevajra in the Bangladesh National Museum (Huntington & Huntington, The Art of Ancient India, New York, 1999, p.399, fig.18.13). His flaming hair is similarly arranged into a fan-like coiffure above a crown of three dried skulls tied by a ribbon with upswept ends. His torque’s pendants also appear modelled after tiger teeth, the long necklace that approaches his navel is made of strings of beads, and the severed heads he wears as a garland are similarly dwarfed by his size.

By the end of the 10th century in Northeastern India, a new class of tantras ascended in popularity, centered around yidams such as Hevajra and Vajravarahi (cf. Linrothe, Ruthless Compassion, London, 1999, p.324). Called Anuttarayoga Tantras, or “Highest Yoga Tantras”, they and their icons spread to the Tibetan Plateau as central practices during the Second Dissemination. As most Pala sculptures that remained in India were lost or buried during the onslaught of Muslim invasions at the start of the 13th century—which leveled the region’s Buddhist monasteries—this Vajravarahi’s buttery, un-encrusted surface, and cold gold pigmentation almost certainly indicate that it travelled to Tibet as an agent of the Second Dissemination.

Fig.3 Vajravarahi Tibet, Kadampa Tradition Circa 1100 Ground Mineral Pigments on Cloth 72 x 50 cm (28.75 x 20 Inches) Himalayan Art Resources no.35845 Image courtesy of Walter Arader, New York

18 | BONHAMS INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 19 306 A SILVER INLAID COPPER ALLOY FIGURE OF A BODHISATTVA SWAT VALLEY, CIRCA 8TH CENTURY Together with an associated backplate of the same period. Himalayan Art Resources item no.16913 5 1/8 in. (13 cm) high

$40,000 - 60,000

斯瓦特約八世紀銅錯銀菩薩像

Full of joyful details, this sweet bronze depicts a bodhisattva musing on a tiered rocky throne in the ‘Pensive Bodhisattva’ pose. He is joined by a recumbent goat in the bottom left corner, a lion in the centre, and a kneeling devotee in the bottom right (perhaps an effigy of this icon’s ancient patron). A leafy vine grows from the rock and up the front of the throne. The bodhisattva has an idealized physique, clad in a lower garment that twists and pools with sumptuous pleats. The lotus flourishing at his right shoulder is as alert as his eyes are enlivened by silver inlay.

Nestled in the foothills of the Hindu Kush mountain range, at the crossroads of the Indian Subcontinent and Central Asia, Swat Valley was an important locus for the spread of Buddhism between India, the Western Himalayas, and East Asia. Swat Valley’s small corpus of bronzes reflects an intriguing synthesis of aesthetic modes from the art of the Kushans, Guptas, and Sasanians: powerful empires which once wielded influence over the region. These bronzes also exhibit exciting precedents for the artistic schools of Kashmir, Gilgit, and Guge.

This lot’s stylistic features are matched by other Swat Valley bronzes from the same period. A similar treatment of the stylized rocky base, consisting of L-shaped sections, is represented in a bronze Padmapani at the Cleveland Museum of Art (von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, pp.84-5, no.6F). His fan-shaped chignon, crown, ribbons, and diamond-shaped armbands are close to another Padmapani figure held in the Los Angeles County Museum of Art (see Pal, Bronzes of Kashmir, New Delhi, 1975, pp.138-9, no.47). Also see Christie’s, New York, 23 March 1999, lot 13.

The current bronze is also related to a group of 7th-8th century sculptures attributed by von Schroeder to the Zhang Zhung Kingdom of Western Tibet (Buddhist Sculptures in Tibet, Vol.II, Hong Kong, 2001, pp.782-7, nos.185-7). Known as the center of Tibet’s Bon religion, Zhang Zhung was ruled by the Tibetan Empire from the 7th to 9th centuries and Buddhism was presumably introduced from Central Tibet. Von Schroeder argues the considerable number of early Western Himalayan bronzes preserved in Tibetan Monasteries indicate that the greater Swat and Kashmir region had tremendous influence on Tibet during the first propagation of Buddhism, which also explains the stylistic resemblance between this Zhang Zhung group and contemporaneous Western Himalayan sculptures. Two bronzes from this group have a rocky base like the present lot’s, with lions, goats, and leafy plants in front (ibid., 186A & 187C). Also compare their densely pleated lower garments and sashes (ibid., 185A, C, & 186A).

Provenance Bodhicitta Inc., New York, 5 February 2004 Private West Coast Collection

20 | BONHAMS INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 21 307 A COPPER ALLOY MAHAPARINIRVANA STUPA TIBET, CIRCA 14TH CENTURY Himalayan Art Resources item no.16912 12 1/8 in. (30.9 cm) high

$15,000 - 20,000

西藏約十四世紀大般涅槃銅佛塔

This bronze model stupa distinguishes itself from average examples due to the precision of its casting, including the finely articulated lotus petals around the base and below its spired parasol. The stupa also survives in near-pristine condition with a buttery patina. Its shape was popular among the Kadam and Kagyu orders of Tibetan Buddhism. Examples of this scale can be seen on altar tables in front of monk- donor figures in the bottom registers of 13th-/14th-century Tibetan paintings (e.g. Kossak & Singer, Sacred Visions, New York, 1998, pp.95 & 97, nos. 19-20). The interiors of these model stupas were consecrated, either with the cremated remains of a spiritually-attained hierarch, or with other contents blessed by a lama, making their presence auspicious.

Compare a closely related, larger example published in Hall (ed.), Tibet: Tradition and Change, Albuquerque, 1997, pp.158-9, pl.79b. Also see Czaja & Proser (eds.), Golden Visions of Densatil, New York, 2014, pp.172-3, no.45; and Sotheby’s, New York, 20 March 2001, lot 149.

Provenance Michael Cohn Asian Art, New York, 3 February 2001 Private West Coast Collection

22 | BONHAMS 308 A SILVER AND COPPER INLAID BRASS FIGURE The scale of the figure’s chignon, towering behind the crown, is OF MANJUSHRI typical of 14th-century Western Tibetan sculptures, as are the thin WEST TIBET, 14TH CENTURY metal struts connecting the tips of the crown leaves. These struts, Himalayan Art Resources item no.34320 bridging the crown, ribbons, sword, and sutra, were integral to the 7 in. (17.8 cm) high casting process, allowing molten metal to fill the clay mold. Compare the figural proportions, lotus stalks, and treatment of hair band and $15,000 - 20,000 earrings with a 14th-century West Tibetan Amoghasiddhi published in Thurman & Rhie, Wisdom and Compassion, New York, 1999, p.349, 藏西十四世紀錯銀錯紅銅文殊菩薩銅像 no.142.

With a slight lean in his upper torso, Manjushri gazes down, deep in Published meditation. He is framed by two sinuous stems emerging from each Ashencaen, Deborah, Leonov, Gennady, and Spink & Son, Visions of side of the lotus base, blossoming by his shoulders with Manjushri’s Perfect Worlds: Buddhist Art from the Himalayas, London, 1999, p.18, attributes: the sword and sutra. fig.7.

Provenance Spink and Son Ltd., London, by 1999 Christie’s, New York, 20 March 2009, lot 1354 Private West Coast Collection

INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 23 309 A GILT COPPER ALLOY FIGURE OF LOKESHVARA PADMAPANI NEPAL, 13TH CENTURY Himalayan Art Resources item no.16915 9 3/8 in. (23.1 cm) high

$100,000 - 150,000

尼泊爾十三世紀銅鎏金蓮華手觀音像

Avalokiteshvara, ‘The Lord who Looks upon the World’, offers a calm, benevolent gaze as his right hand adopts the gesture of granting wishes (varada mudra). The lotus at his left shoulder symbolizes every being’s potential to achieve enlightenment despite their past flaws—just as the flower rises from murky waters. Avalokiteshvara is an enlightened being who eons ago pledged to postpone his departure from the cycle of death and rebirth, with all its inherent suffering, until he has helped every other sentient being escape it first. Thus, he is a paradigm of compassion that Mahayana Buddhist practitioners aspire to emulate.

Produced on a more intimate scale, this sculpture depicting Avalokiteshvara is a quintessential Newari standing bodhisattva, one of Himalayan art’s signature icons. The Newars are an ethnic group from Nepal’s Kathmandu Valley who have been transmitting their artistic expertise across generations and are renowned for being among the most accomplished artisans in Asia. Newars were frequently sought after for major artistic projects in Tibet, Mongolia, and China. There is perhaps no better hallmark of the grace and sensitivity with which the Newars cast Buddhist sculptures than their classic representation of the young and lithe standing bodhisattva, seen in this example from the 13th century. The leitmotif of the standing bodhisattva in a graceful pose, with a bare torso, supple waist, and sheer lower garment, traces back to the Gupta period (4th-6th century), India’s cultural Golden Age. A famed standing Padmapani from Sarnath in the National Museum in New Delhi exemplifies this visual idiom, which the Newars perpetuated (cf. Across the Silk Road, Beijing, 2016, pp.160-1, no.70).

24 | BONHAMS INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 25 Stylistically, the tail ends of the ribbons used to fasten Avalokiteshvara’s crown (samkhapatra), appearing above each ear, help date the sculpture to the 13th century. Vajracharya has attributed the ‘Rubin Museum Durga’ (fig.1; C2005.16.11) to this period because its ribbons are more prominent than in Newari sculptures produced before the 12th century, while being also simpler than those from the 14th century, which often display additional tassels (Vajracharya, Nepalese Seasons, New York, 2016, pp.25, 133 & 139). The Rubin Museum’s masterpiece also shares the present sculpture’s robust figural proportions and facial features— particularly an equally pronounced brow ridge. Other c.13th-century bronzes showing these features include an Uma Maheshvara in the Museum of Fine Arts, Boston, a Vishnu in the Los Angeles County Museum of Art, and a Vasudhara formerly in the Pan-Asian Collection (von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, pp.347-50, nos.89F, 90E & 91B, respectively).

The 13th century marked the beginning of the enduring Malla dynasty, which reigned over the Kathmandu valley until the end of the 18th century. As Ian Alsop has summarized, “The Malla period in general was a period of overall political stability punctuated by internecine squabbles between the various principalities of the Nepal Valley. It was a time of considerable prosperity, nourished by the valley’s fertility and by a lucrative trade with Tibet and India. It was also a time of great artistic activity, and Newar artists prospered through the patronage of the devout of the Kathmandu valley, the various noble houses there, and the wealthy lamas who eagerly sought the renowned Newar artists.” (Alsop in van Alphen (ed.), Cast for Eternity, Antwerp, 2005, p.124)

Provenance Doris Weiner Gallery, Madison Avenue, New York (label on base) Private Californian Collection

Fig.1 Durga Killing the Buffalo Demon 13th Century Nepal Gilt copper alloy H 10 7/8 x W 13 1/8 x D 7 1/2 in. Rubin Museum of Art C2005.16.11, HAR65433

26 | BONHAMS INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 27 310 A BRASS FIGURE OF AMOGHASIDDHI TIBET, 13TH/14TH CENTURY Himalayan Art Resources item no.90566 11 1/8 in. (28.3 cm) high

$40,000 - 60,000

西藏十三/十四世紀不空成就佛銅像

Identified by his crown and his right hand raised in the gesture of reassurance (abhaya mudra), this figure represents Buddha Amoghasiddhi, whose name translates to “Almighty Conqueror”. One of the Five Presiding Buddhas, Amoghasiddhi is revered for instructing devotees away from jealousy.

The bronze is cast in an early Tibetan style of the 13th and 14th centuries that took inspiration from the Pala tradition of Northeastern India. For example, Amoghasiddhi’s tall chignon, large circular earrings, and triangular foliate armbands follow Pala models. This figure’s commanding, yet serene presence, full-bodied lotus petals with plump inner layers, and bridged crown leaves are common to other Tibetan sculptures from the period. Compare the treatment of base, jewelry, and crown to a bronze of similar scale depicting Shadakshari Lokeshvara sold at Bonhams, Hong Kong, 3 October 2017, lot 18.

Provenance The Rezk Collection The Southern Alleghenies Museum of Art, Pennsylvania, deaccessioned in 2020 Concept Art Gallery, 10 June 2020, lot 26

28 | BONHAMS INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 29 311 A GILT LACQUER AND POLYCHROME WOOD PANEL The panel depicts one of the Pancha Raksha Goddesses, or “Five WITH PROTECTOR GODDESS Protectors”. Each goddess personifies a sacred mantra that promotes NEPAL, 13TH/14TH CENTURY the reciter’s welfare and happiness. There are countless variations in Himalayan Art Resources item no.30869 how the Pancha Raksha are depicted; here, the goddess has the body 8 7/8 x 15 3/4 in. (22.5 x 40 cm) of an ogre with six arms and three heads, the primary head consuming a snake, symbolizing her transmogrification of physical and spiritual $16,000 - 22,000 poisons.

尼泊爾十三/十四世紀漆金彩繪守護佛母木質飾板 This panel belongs to a well-known group dispersed throughout several institutions and private collections, the most significant found within the David R. Nalin Collection, published in Kerin, Artful Beneficence, New York, 2009, pp.74-9, cat. nos.41-42e. Most panels portray a single deity framed by elaborate foliate scrolls similar to this, and several depict Pancha Raksha Godesses. For example, see two previously sold at Bonhams, New York, 18 March 2013, lot 148 and Bonhams, Hong Kong, 29 November 2016, lot 118.

Provenance Plum Blossoms Gallery, Hong Kong, 2000s Mehmet Hassan Asian Art, Bangkok Private American Collection

30 | BONHAMS

312 A THIRTY-THREE-DEITY USHNISHAVIJAYA MANDALA TIBET, NGOR MONASTERY, CIRCA 1500-50 Distemper on cloth; verso with repeated Tibetan, ‘om, ah, hum’, invocations in black ink; with original cloth mount, and original red lacquered dowel inscribed in gold Tibetan translated, ‘Ushnishavijaya with Many Deities’. Himalayan Art Resources item no.88540 Image: 50.9 x 44.2 cm (20 x 17 3/8 in.); With silks: 85.2 x 48.4 cm (33 1/2 x 19 in.)

$200,000 - 300,000

西藏俄爾寺約1500-50年三十三神尊勝佛母壇城唐卡

Glowing in white from the center of her celestial palace, the wisdom goddess, Ushnishavijaya, calmly smiles. She has three faces of white, yellow, and blue, the last being slightly wrathful. In her eight radiating arms she holds a lotus-borne red Amitabha, a bow and arrow, a vase of plenty, a lasso, and displays gestures of reassurance (abhaya mudra) and wish-granting (varada mudra). At the center, before her bosom, she balances a five-colored visavajra, itself a color-coordinated microcosm of her abode.

Adding to the painting’s complexity, Ushnishavijaya’s palace is also inhabited by thirty-two deities, each reclining against lotus petals similar to those of sculptural mandalas (cf. Huntington, Circle of Bliss, Columbus, 2003, p.254, no.68). A ring of thirty-two petals surrounds the palace, symbolizing the purified minds of these retinue deities.

Furthermore, sixteen tiny offering goddesses dance around the palace’s veranda. Its walls are decorated with garlands and streamers, while four gates are surmounted by parasols under which deer flank a Dharma-wheel – symbols of Shakyamuni’s wisdom. Beyond the palace’s protective ring, alternating figures of Amitayus and Amitabha populate the painting’s corners and top and bottom registers. Sitting in the bottom center is another figure of Ushnishavijaya; in the top center, a Sakya teacher.

This mandala likely forms the final painting of a set of approximately forty-four based on the Vajravali of Abhayakaragupta (11th century). The palette is strong and vibrant, consistent with many portraits and mandalas that have survived from Ngor monastery. For example, compare with the Thirty-Two Deity Guhyasamaja mandala sold at Bonhams, New York, 17 March 2014, lot 18 that was dated by inscriptional evidence c.1520-1533.

A very similar Sakya mandala of Paramasukha Chakrasamvara in the McCormick Collection is published in Leidy & Thurman, Mandala, 1997 pp.92-3. Also from Ngor monastery, it bears inscriptional evidence that dates it c.1500. Like this Ushnishavijaya mandala, it is associated with tantric practice to promote long-life.

The mandala is unusual for the large size of its central figure. The painter sets Ushnishavijaya against the green, blue, and red of her immediate aureole to project her outwards like a dazzling light. The proportions allow for the fine treatment of her pale green and maroon lower garments, draped in sumptuous folds across her lap. These features are often absent at the center of more conventional mandalas of the period. A Pancharaksha Mandala of strikingly similar composition, sharing a brilliant white figure in its center, is held in the Alain Bordier Foundation (von Schroeder, Tibetan Art of the Alain Bordier Foundation, Hong Kong, 2009, pp.40-1, pl.14).

Provenance Private European Collection Rossi and Rossi Ltd, London, 2001 Carlton Rochell Asian Art, New York, 2003 Private Collection, New York

32 | BONHAMS INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 33 313 A GILT COPPER ALLOY FIGURE OF CUNDI (ZHUNTI GUANYIN) LATE MING/EARLY QING DYNASTY, 17TH CENTURY Himalayan Art Resources item no.16911 8 in. (20.3 cm) high

$60,000 - 80,000

明末/清初十七世紀銅鎏金準提觀音像

Avalokiteshvara (Guanyin) is the most popularly worshipped bodhisattva in Chinese Buddhism, taking several forms. Here, in a form known as Cundi Avalokiteshvara (Zhunti Guanyin)—’The Goddess of the Seventy Million Buddhas’—the bodhisattva personifies a potent incantation called the Cundi Dharani. Her eighteen arms (sixteen of which hold implements) symbolize the eighteen paths of attaining Buddhahood as described in her incantation. Cundi is invoked to purify karma, attract resources, grant protection, and promote an auspicious rebirth.

This gilt-bronze depiction is likely a rare 17th-century example created during the transition between Ming and Qing dynasties. Stylistic features of the Ming dynasty include high-waisted lower garments tied with prominent bows, crown types with large central panels rather than five equidistant leaves, and teardrop floral earrings. These features are represented by a 16th- century bronze of the same deity sold at Sotheby’s, New York, 20 March 2019, lot 686 (also see Poly Auction, Hong Kong, 2 April 2018, lot 3525). However, they have been modified with Qing-dynasty characteristics including a head and arms of more naturalistic proportions, armbands and bracelets consisting of double beaded chains mounted with a single jewel, and silks engraved with a sunflower motif. Similar are represented in a 17th-century Qing Amitayus published in Xia (ed.), Puti Miaoxiang, Liaoning, 2001, p.158, no.151.

Published Philip Rawson, Sacred Tibet (Art and Imagination), Singapore, 1991, p.84.

Provenance Baron von Mumins Collection, Lhasa, 1929 Philip Goldman Collection, London Sotheby’s, New York, 21 March 2002, lot 153 Private West Coast Collection

34 | BONHAMS INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 35 36 | BONHAMS 314 A GROUP OF THREE THANGKAS OF YAMA DHAMARAJA, Depicting three deities central to the Gelug order of Tibetan Buddhism, VAJRABHAIRAVA, AND SHADBHUJA MAHAKLA these superbly drafted thangkas from the same set are full of vivid, TIBET, 19TH CENTURY often humorous details: the buffalo underneath Yama Dhamaraja Distemper on cloth. appears to be very concerned about Chamunda’s sharp toenails, Himalayan Art Resources item nos.16921 & 16922 & 16923 the human figure under Vajrabhairava’s right foot is caught in a rather 27 1/2 x 18 in. (69.7 x 45.6 cm) each approx. precarious position with his rear-end exposed, and the Ganapati crushed by Shadbhuja Mahakala seems perfectly content with his $30,000 - 50,000 beloved radish.

西藏十九世紀閻魔護法、大威德金剛及六臂大黑天唐卡 Each composition is well conceived, layered with animals, lamas, and deities in dramatic poses. The black clouds of smoke creating outlines around the central figures of Vajrabhairava and Shadbhuja Mahakala, as well as some of their entourage, exemplify the polished visual devices that occur when a style reaches maturity, indicating the thangkas were produced in the 19th century. Compare the energetic composition with a closely related thangka of Chaturbhuja Mahakala sold at Bonhams, Hong Kong, 3 October 2017, lot 28. Also see a thangka of Vajrabhairava and another of Shadbhuja Mahakala in the Zanabazar Museum of Fine Arts (HAR 50042 & 50010).

Provenance Ex-New Jersey Collection, c.2008

INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 37 315 A GILT COPPER ALLOY TRIAD OF PADMASAMBHAVA AND HIS CONSORTS, MANDARAVA AND YESHE TSOGYAL TIBET, CIRCA 16TH CENTURY Himalayan Art Resources item no.35901 11 7.8 in. (30.1 cm) high

$40,000 - 60,000

西藏約十六世紀銅鎏金蓮花生大士與曼達拉娃及益西措嘉像

This rare ensemble pays tribute to the Indian teacher Padmasambhava, also known in Tibet as Pemajunge, meaning “the Lotus Born”. Padmasambhava is credited with introducing Buddhism in Tibet in the 8th century. He is also the root guru of the Nyingma order, who regard him as the ‘second buddha’ and maintain he planted treasure teachings (terma) throughout the Himalayas to be discovered when the world is ready.

According to traditional biographies, Padmasambhava was miraculously born in the center of a lotus blossom on Lake Danakosha, which this sculpture clearly aims to visualize. He is joined by his two consorts and close disciples, each smaller and seated on a lotus flower stemming from the same root as his. His first consort, Mandarava, was a princess from Himachal Pradesh in India. His second, Yeshe Tsogyal, was from an aristocratic family in Central Tibet. Tsogyal, whose name means “Victor of the Lake”, is considered the first Tibetan to have achieved buddhahood in a single lifetime. She was also charged with hiding many of his teachings. Padmasambhava slightly tilts his head as both consorts lean their bodies towards the center, creating a harmonious image.

A closely related triad of the same subject displays similar robes and broad petals (HAR 9224). A gilt bronze figure just of Padmasambhava in the Victoria and Albert Museum (IM.240-1922) also shares a similar lotus base with wide petals and plain upper rim. A larger example of the guru wears an almost identical conical hat (Sotheby’s, New York, 12 September 2018, lot 272). Also see another figure of Padmasambhava sold at Bonhams, Hong Kong, 26 November 2019, lot 12.

Provenance Private American Collection, acquired in Hong Kong, 2010

38 | BONHAMS INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 39 316 A PAIR OF BLACKGROUND THANGKAS OF HAYAGRIVA AND VAJRAKILA TIBET, 19TH CENTURY Distemper on cloth. Himalayan Art Resources item nos.16924 & 16925 Image: 14 1/8 x 11 in. (35.8 x 27.8 cm), the Hevajra; Image: 13 1/2 x 11 3/8 in. (34.4 x 28.8 cm), the Vajrakila

$12,000 - 16,000

西藏十九世紀馬頭明王及普巴金剛黑唐卡

This pair of blackground thankgas depicting the meditational deities (yidams) Hayagriva and Vajrakila are excellent examples of the 19th century. The artist skillfully achieves complex forms and spatial relations with a restrained use of line and shading. He renders the many arms, legs, and faces of each deity with confidence. He paints the hair of each central figure with fine, parallel lines in gold, and applies the same technique to the flames oundar them, but with fainter brushstrokes so as to create the illusion of their receeding into the background.

Compare with other 19th-century blackground thangkas at the Rubin Museum of Art, New York, of Vajrakila (P1996.20.25; HAR379), Maning Mahakala (P1995.25.3, HAR208), and Panjarnata Mahakala (F1997.3.5, HAR70).

Provenance Ex-New Jersey Collection, c.2008

40 | BONHAMS

317 A CAST AND REPOUSSÉ GILT COPPER ALLOY SHRINE TO MANJUVAJRA NEPAL, 17TH/18TH CENTURY Himalayan Art Resources item no.16920 8 3/8 in. (21.3 cm) high

$130,000 - 180,000

尼泊爾十七/十八世紀銅鎏金文殊金剛像

This distinctive shrine invokes Manjuvajra, an esoteric form of Manjushri, the Bodhisattva of Transcendent Wisdom. With three heads and six arms, he crosses his principal hands at the chest, embracing his consort Prajna, and signalling a perfect union of Wisdom and Compassion. Both male and female deities brandish long swords in their top right hands, creating a powerful image of their ability to dispel ignorance and delusion. Manjuvajra’s remaining three arms hold a lotus, a bow, and an arrow, common attributes for wisdom deities.

Manjuvajra’s physical appearance is described in the Nishpannayogavali (‘Garland of Perfection Yoga’), a Vajrayana iconographical treatise from the Pala period. The earliest known sculptures of the deity date to the 11th/12th century: see two Pala examples preserved in the Metropolitan Museum of Art, including a black stone stele (57.51.6) and a small bronze figure (L.2017.31.1).

The shrine’s pedestal has an ornate façade symbolizing Manjuvajra rising from the ocean of existence on the ‘sun disc’ of a lotus. A robust central stem bifurcates with vines encircling a pair of lions, which are often shown guarding the thrones of Buddhist deities. The formal depiction of both motifs can be traced back to the Pala art of medieval Northeastern India, testifying to Nepalese art’s remarkable conservatism. For example, compare the treatment of the vines or the two outward-facing lions with their tails whipped over their backs with several Pala stone sculptures published in Huntington, Leaves from the Bodhi Tree, Dayton, 1990, nos.4, 6, 13, 15 & 36-8. Similar elements were incorporated into the base of a large gilt bronze Buddha from the Khasa Malla kingdom sold at Bonhams, New York, 19 March 2018, lot 3019.

A gilt bronze figure of Chakrasamvara, dated 1709, has a similar compact scale, crown type, and bangles (von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, p.386, no.105B). Elaborate flaming repoussé aureoles are common to Nepalese sculptures of the 17th and 18th century (ibid., pp.390-1, nos.107B-D). Also see a contemporaneous but smaller bronze of Manjuvajra with consort preserved in the Norton Simon Museum of Art, Pasadena (Pal, Art from the Himalayas and China, New Haven, 2003, p.99, no.64).

Provenance Ex-Private French Collection, 1980s

42 | BONHAMS INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 43 Ronald Garrigues, Artist and Collector

318 From a young age, Ron Garrigues had an eye for beauty and an A BRASS FIGURE OF THE SECOND ABBOT OF NGOR interest in Asian art. After his first trip to Nepal in 1979, trekking to MONASTERY, MUCHEN KONCHOG GYALTSEN remote villages and monasteries, he began a long career of studying CENTRAL TIBET, 15TH/16TH CENTURY Buddhism and collecting Buddhist art. This took him back to Nepal, as A Tibetan inscription at the bottom of the lotus base, translated, well as India, Japan, and China, and brought him in contact with Asian ‘Homage to Muchen Konchog Gyaltsen!’ art dealers and fellow collectors. The two works offered in this catalog Himalayan Art Resources item no.16916 from his estate, and several more in our adjoining online sale, attest to treasuryoflives.org bio no.1898 Ron’s keen eye and sense for distinctive pieces. An artist himself, Ron 7 1/4 in. (18.4 cm) high Garrigues work can be viewed at: www.rongarrigues.com. $10,000 - 15,000

藏中十五/十六世紀俄爾寺第二任住持慕千袞就堅贊銅像

Executed in the Tsang sculptural style of Central Tibet, the figure is identified by inscription as the Sakya teacher Muchen Konchog Gyaltsen (1388-1469), the second abbot (Khenchen) of Ngor monastery. He was an immediate disciple of the order’s founder, Ngorchen Kunga Zangpo (1382-1456), who Gyaltsen helped establish in 1430. See another Central Tibetan bronze of the teacher (HAR 8730).

Provenance Estate of Ronald Garrigues (1930-2020), California, by 1990s

44 | BONHAMS 319 A BLACKSTONE STELE OF BUDDHA The sculpture’s figural suppleness and its relatively simple, unpolished NORTHEASTERN INDIA, BIHAR, PALA PERIOD, back panel follow stylistic conventions of 9th-/10th-century Buddhist 9TH/10TH CENTURY steles produced in Bihar at famous pilgrimage sites, such as Nalanda Himalayan Art Resources item no.16926 and Bodh Gaya. Compare other 9th-century steles depicting the 10 1/2 in. (26.5 cm) high Buddha in Huntington, The Pala-Sena Schools of Sculpture, Vol.II, Leiden, 1984, nos.42 & 103. $10,000 - 15,000 Provenance 印度東北部比哈爾邦帕拉時期九/十世紀黑石佛陀像 Estate of Ronald Garrigues (1930-2020), California, by 1990s

Under the bodhi tree, Buddha is at the moment of realizing enlightenment, with his right hand reaching down in bhumisparsha mudra, calling the Earth to witness it. He sits on a thin cushion of rosettes spaced by blank cartouches above a double-lotus platform. The back panel frames his broad physique with arching pearl and flame borders.

INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 45 320 A COPPER ALLOY HEAD OF BUDDHA THAILAND, SUKHOTHAI PERIOD, CIRCA 1350-1400 21 5/8 in. (59.4 cm) high

$15,000 - 20,000

泰國素可泰王國時期約1350-1400年銅佛首

This sizable head portrays Buddha’s serenity and “classic” Sukhothai elements. With heavy-lidded eyes gazing downwards in blissful contemplation, his arched brow gives rise to a beaked nose, beneath which a gentle smile plays out across his lips. His fleshy jowls are framed by pendulous earlobes, while his short curls are well- articulated in symmetrical arrangement over his dome and ushnisha. A flame surmounts his crown, a beacon of his enlightened consciousness. Compare two other “classic” Sukhothai examples in the Walters Museum of Art, attributed to the second half of the 14th century, and displaying similarly treated nasal bridges, recessed lips, and upswept eyes (Woodward, The Sacred Sculpture of Thailand, 1997, pp.154 & 156, figs.155 & 157).

Provenance Private Collection, London, 1970s-2013

46 | BONHAMS

321 A COPPER ALLOY FIGURE OF BUDDHA THAILAND, SUKHOTHAI PERIOD, CIRCA 1350-1400 39 1/4 in. (99.8 cm) high

$40,000 - 60,000

泰國素可泰王國時期約1350-1400年佛陀銅像

It is easy to mistake this Sukhothai Standing Buddha for one of the kingdom's famous Walking Buddhas, such is the movement created by the sweep of the robe about his legs. The Buddha stands erect with his left hand raised in a gesture of reassurance, his face projecting an air of quiet authority beneath a tall flame rising from his ushnisha like a beacon of his enlightened consciousness.

An example of the prized Sukhothai style, this bronze has an excellent pedigree. In the mid- 1960s, it was purchased by a U.S. diplomat on the advice of Rene-Yvon d'Argence (the late Director Emeritus of the Asian Art Museum, San Francisco) from Peng Seng (the eminent Thai art and antiques dealer). Peng Seng's clients were primarily members of the Thai royal family before a growing number of foreigners began to appreciate Thai Buddhist art. The bronze was later exhibited at the Asian Art Museum, San Francisco in the 1980s.

Translated as "Dawn of Happiness", the Sukhothai kingdom's reign lasted for 200 years and is now regarded as the Thai Golden Age. Having wrested power from the Khmers, the Sukhothai rulers endeavored to cease production of Buddha images in the Khmer style and develop a new, uniquely Thai aesthetic. With the assistance of Singhalese Theravadan monks, they adhered to textual prescriptions in ancient Pali treatises (shastras). Composed as similes, among Buddha's signs of greatness (mahalakshanas), he has a nose "like a parrot's beak", a chin "like a mango stone", his long and sinuous arms "like the trunk of a young elephant", and his elegant hands "like a lotus bud opening". Their efforts yielded a beautiful Thai image informed by poetry.

The present bronze's features compare closely to a "classic" Sukhothai masterpiece held in the Ramkhamhaeng National Museum, Sukhothai, and an oft-published red-lacquered and gilded bronze in the National Museum, Bangkok (see Stratton, Buddhist Sculptures of Northern Thailand, Bangkok, 2004, p.165, fig.7.8; and National Museum Volunteers Group,Treasures from the National Museum, Bangkok, 2010, p.35, no.54; respectively). Also compare the elegant upswept eyes and recessed lips of a Buddha attributed to the second half of the 14th century in the Walters Art Museum, Baltimore (Woodward, The Sacred Sculpture of Thailand, 1997, p.154, fig.155).

Provenance Peng Seng, Bangkok Collection of Mark S. Pratt, Washington, D.C, acquired from the above between 1963-1968 On long term loan to the Asian Art Museum, San Francisco, early 1980s-1989

48 | BONHAMS INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 49 50 | BONHAMS 322 A SCHIST PANEL OF MAITREYA IN TUSHITA HEAVEN Thatched and leaf-covered balconies are intricately depicted with ANCIENT REGION OF GANDHARA, CIRCA 3RD CENTURY supporting beams carved on their underside. Various onlookers 9 x 15 in. (22 x 38cm) lucky enough to have been reborn in Tushita Heaven populate them. A woman in the top right corner prepares to throw flowers from an $30,000 - 50,000 arched balcony in adoration of Maitreya. The panel compares favorably with other examples of this subject published in Ingholt, Gandharan 犍陀羅約三世紀片岩彌勒菩薩居兜率天石碑 Art in Pakistan, New York, 1957, no.37 and (Zwalf, A Catalogue of the Gandhara Sculpture in the British Museum, London, 1996, no.251. This exceptional panel depicts Maitreya (lit. “The Benevolent One”), the next buddha, now abiding in Tushita heaven as a bodhisattva, Provenance awaiting the proper time for him to take his final rebirth. He is carved Sotheby’s, London, 5 June 1989, lot 1 (front cover) handsomely, seated under a baldachin being fanned by putti who Bumper Development Corporation Collection, Canada, 1989-2017 stand on the capitals of columns rising behind a pair of lions protecting On loan to the Glenbow Museum, Calgary, 1989-2015 his throne. Within his celestial audience, two bodhisattvas immediately flank Maitreya, the one on the left sitting on a wicker stool, which was a common seat for a bodhisattva in Gandharan iconography.

INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 51 323 A SANDSTONE STELE OF A DEITY Published NORTHERN INDIA, CIRCA 10TH CENTURY Pratapaditya Pal, Indo-Asian Art: The John Gilmore Ford Collection, 27 5/8 x 14 1/2 in. (70 x 36.7 cm) Baltimore, 1971, no.9.

$30,000 - 50,000 Provenance John & Berthe Ford Collection, Baltimore, by 1970 This languid attendant deity is carved in a Northern Indian style Sotheby’s, New York, 26 March 2003, lot 148 adopted by the Gurjara-Pratihara dynasty in which many Hindu and Private Collection, California Jain temples were carved. Compare two torsos in the Norton Simon Museum that share the same configuration of jewelry, especially the armbands (Pal, Art from the Indian Subcontinent, New Haven, 2003, p.169, nos.129 & 130).

52 | BONHAMS 324 A SANDSTONE HEAD OF SHIVA CENTRAL INDIA, CIRCA 11TH CENTURY 8 3/4 in. (22.1 cm) high

$10,000 - 15,000

This handsome head of Shiva is finely carved with fleshy cheeks, almond-shaped eyes, high-arching brows, and a petaled halo. He wears an elaborate diadem with suspended pearl swags and a central kirtimukha around his coiffure of tight curls.

Compare with a related head of a tirthankara that has similar eyes and arched brows in the Ashmolean Museum, Oxford (Harle & Topsfield, Indian Art, Oxford, 1987, p.45, fig.53). Also see another example of similar size preserved in the Walters Art Museum, Baltimore (25.262).

Provenance Sotheby’s, London, 8 May 1997, lot 19 Sotheby’s, New York, 24 March 2004, lot 22 Private Collection, California

INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 53 325 A SANDSTONE HEAD OF A SHIVA In contrast to Vishnu’s tall mitre, matted locks are an iconographic NORTHERN INDIA, CIRCA 10TH CENTURY feature of Shaivite deties. Moreover, the turn of the head, and the hair 12 in. (30.3 cm) high bun extending behind the right ear suggest this is a head of Shiva doting on his consort, Parvati, from an Umamaheshvara ensemble (Pal, Art from $10,000 - 15,000 the Indian Subcontinent, 2003, pp.144 & 145, nos.102 & 103).

The head is carved with crisp detail, notable for its elaborate coiffure of Provenance high-arching matted locks bound by multiple bands and fronted by a Mohenjo Daro Gallery, New Delhi, 23 February 1965 five-jewel cockade. Doyle’s, New York, 16 September 2013, lot 28

54 | BONHAMS 326 A COPPER ALLOY FIGURE OF VISHNU WITH GADANARI This nimbate triad depicts Vishnu joined by two personifications of his AND CHAKRAPURUSHA divine weapons. The three are attentive to the viewer, the diminutive NORTHEASTERN INDIA, BIHAR, PALA PERIOD, 9TH CENTURY helpers greeting with their hands in anjali mudra, and Vishnu offering With a double line inscription on the back of the base. darshan, the opportunity to be seen by Him. From 8th-/9th-century 6 3/4 in. (17.1 cm) high Northeastern India, this bronze is exemplative of earlier Pala bronzes, known for more spirited presentations of their deities. Broad facial $15,000 - 20,000 features reminiscent of the Gupta style, a circular aureole with pendant leaves framing Vishnu’s crown, and a visible armature at the back inform this attribution. A closely related, larger shrine is in the Metropolitan Museum of Art (2015.500.4.10).

Published John Siudmak, Indian and Himalayan Sculpture and Thangkas from the Collection of the Late Simon Digby, London, 2011, pp.20-1, no.3.

Provenance The Simon Digby Collection John Siudmak Asian Art, London, 2011

INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 55 327 A COPPER ALLOY FIGURE OF APPAR TAMIL NADU, VIJAYANAGARA PERIOD, CIRCA 15TH CENTURY 21 3/8 in. (54.3 cm) high

$50,000 - 70,000

The amiable Saivite saint Appar greets us with his hands raised in anjali mudra. While many sculptures of Appar had separately cast shovels which have long been lost, here the attribute has had the benefit of being integrally cast, resting in the crook of his left arm still. Appar’s shovel reminds us of his exemplary dedication to temple gardens. One of the four primary South Indian Saivite nayanars, he is immortalized as a great poet-saint. Appar contributed a momentous body of hymns in the 7th century as bhakti coalesced into a lasting religious movement, emphasizing ecstatic devotional worship and the experience of God.

This figure is modeled in the Vijayanagara style, with robust proportions showing well-defined arms and shins poised atop a crisp lotus pedestal. The artist has paid special attention to the garment around his legs, mimicking a woven fabric. The sculpture compares favorably to other Vijayanagara Appars sold at Sotheby’s, New York, 21 March 2012, lot 281 and held by The Art Institute of Chicago (1970.552) and the Norton Simon Museum (F.1972.45.02.S). A very closely related example sold at Sotheby’s, New York, 19 September 1996, lot 150.

Provenance Private French Collection, acquired in the early 20th century Private UK Collection

56 | BONHAMS INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 57 58 | BONHAMS 328 A COPPER ALLOY FIGURE OF ADIKARA NANDI TAMIL NADU, NAYAK PERIOD, 17TH CENTURY 20 in. (50.8 cm) high

$30,000 - 50,000

With his primary hands in anjali mudra and his secondary hands holding an antelope (mrga) and a battle-axe (parasu), this crisply- detailed casting represents Adhikara Nandi, a form of Shiva’s bull mount. He wears a short lower garment secured at his waist with an elaborate jeweled girdle, and his hair is arranged in a tall jatamukuta.

Closely related examples of an eight-armed Virabhadra and a four- armed Kankalamurti in the Madras Government Museum share similar coiffures, facial types, trailing tassels, and projecting scarf ends (Srinivasan, Bronzes of South India, Madras, 1963, pl.CXCIV, nos.336 & 337). Also compare a large sculpture of Adhikara Nandi from Thanjavur preserved in the same museum (634/68).

Provenance Xanadu Gallery, San Francisco, 9 August 2003 Private Collection, California

INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 59 Indian Sculpture from the Collection of Siddharth K. Bhansali

Dr. Siddharth K. Bhansali is a renown interventional cardiologist practicing in New Orleans. He is an avid collector of Welsh furniture, English sporting paintings, Indian tribal art, and early Indian sculpture. Himself a Jain born in Mumbai, he has assembled the most important private collection of Jain art in the United States. He also holds one of the most comprehensive collections of Indian bronze sculpture from the first millennium CE, including rare categories little-known to most collectors, such as bronzes from the Ikshvaku, Rashtrakuta, and Western Chalukya dynasties, alongside those of the better-known the Gupta, Pala, Pallava, and Chola periods.

Sid Bhansali has been a member of the New Orleans Museum of Art (NOMA) Board of Trustees variously since 1990. He has also served on the Visiting Committee of the National Museum of Asian Art, Washington, D.C. Sid Bhansali has lent artworks to two major exhibitions on Jain art in America, The Peaceful Liberators: Jain Art from India at the Los Angeles County Museum of Art in 1994, and The Victorious Ones: Jain Images of Perfection at the Rubin Museum of Art, New York in 2009-2010. In 2011, the New Orleans Museum of Art produced The Elegant Image, an exhibition and catalog dedicated to Dr. Bhansali’s collection, curated by the eminent scholar Dr. Pratapaditya Pal. Dr. Bhansali continues to loan artworks to NOMA, including two current exhibitions dedicated to works from his collection: Arte Sacra: Roman Catholic Art from Portuguese India and The Pursuit of Salvation: Jain Art from India, both on view until 20 June 2021.

60 | BONHAMS

329 A COPPER ALLOY FIGURE OF GANESHA TAMIL NADU, CHOLA PERIOD, 12TH CENTURY 13 3/4 in. (34.9 cm) high

$250,000 - 350,000

Expressing his affinity for the beloved elephant-headed god, a confident artist has cast Ganesha with an emphatic childlike smile behind the long, sinuous trunk. The mischievous “Remover of Obstacles”, Ganesha is worshipped to bless both the start and success of almost any undertaking. In Chola times, a bronze Ganesha was a part of every festival. This sculpture shows signs of ritual use and ablutions, left with a polished forest green trunk. Ganesha’s round belly is another area frequently touched by devotees, and the cord draped over his right shoulder has been rubbed down to a faint impression across his stomach.

Compared to many more dwarfish renditions, this model of Ganesha boasts a tall physique and other artistic merits astutely explained by Dr. Pal:

“But for the minimal apparel consisting of a short loincloth, the god would be naked. His short, plump legs and feet clearly demonstrate his tender age, but the ample overhanging belly and the torso are of an adult. This [His] composite human body carries a naturalistically modelled elephant head with a gracefully swimming trunk scooping up the sweet from the left palm. The corresponding right hand delicately grasps his broken right tusk which he is about to hurl at the Moon, who mocked the roly-poly lad for his inordinate gluttony for sweets. The second pair of hands hold the elephant-goad (right) and the noose (left). Noteworthy are the prominent fan-like ears, reflecting the unknown artist’s familiarity with the elephant.

“Lively and elegant with his chubby legs, a hanging rotund belly, but a well-proportioned torso, the bronze is a handsome representation of the 12th century, still revealing the creative impulse of the Chola sculptors. Comparable are bronzes at the Melaperumpallam temple dated to 1178 [Dehejia 1990 figs 87-88; so also Pal 2005, no.169d for a stylistically closely elatedr example). The Bhansali bronze, however, is distinguished by its unusual combination of proportions in conceiving the body and the endearing manner in which the tip of the long, sinuous trunk is about to lift the sweetmeat off the palm.”

Published Pratapaditya Pal, The Elegant Image: Hindu, Buddhist and Jain Bronzes from the Indian Subcontinent in the Siddharth K. Bhansali Collection, New Orleans, 2011, pp.167-8, no.90.

Exhibited The Elegant Image: Hindu, Buddhist and Jain Bronzes from the Indian Subcontinent in the Siddharth K. Bhansali Collection, New Orleans Museum of Art, 5 August - 23 October 2011.

Provenance Collection of Siddharth K. Bhansali, New Orleans Acquired in London between 1978-83

62 | BONHAMS INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 63 330 A GRANITE HEAD OF VISHNU TAMIL NADU, PALLAVA OR EARLY CHOLA PERIOD, 9TH CENTURY 15 1/4 in. (38.7 cm) high

$30,000 - 50,000

This important transitional work bridging the art of the Pallava and subsequent Chola dynasties, depicts Vishnu with a mitre almost twice the height of his polished, handsome face. The tall, intricate headdress begins with a diadem placing a lotus bud immediately above his forehead. It rises to a large three-pointed medallion, which is repeated above each ear. The overall cylindrical shape is common to South Indian depictions of Vishnu as well to both the Pallava and early Chola periods (see Pal, Art from the Indian Subcontinent, New Haven, 2003, p.217, no.166B). Compare the head’s position stylistically between an 8th-/9th-century Pallava Vishnu in the British Museum of Art (1961,1213.1) and an early 10th century Chola Vishnu in the Cleveland Museum of Art (1963.104), published in Chandra, The Sculpture of India, Washington, 1985, p.189, no.91.

Provenance Collection of Siddharth K. Bhansali, New Orleans Acquired in London between 1978-83

64 | BONHAMS INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 65 331 A COPPER ALLOY FIGURE OF SHIVA CHANDRASHEKHARA TAMIL NADU, CHOLA PERIOD, CIRCA 1100 15 3/4 in. (40 cm) high

$250,000 - 350,000

It is extremely rare for a Chola bronze to be preserved together with its aureole. Aside from those cast around Natarajas that are integral to the base, one would struggle to find any in a publication dedicated to Chola art. This fortunate sculpture depicts Shiva in his representation as Chandrashekhara, the “Moon Crested Lord”. Having four arms, his two inner hands display the gestures of dispelling fear (abhaya mudra) and inviting his devotees to request boons from him (ahuya varada). With two outer hands, he holds a battle-axe and a deer that leaps toward him, conferring his status as “Lord of the Animals” (Pashupati). Perfectly upright, Shiva Chandrashekhara stands on a lotus pedestal presented before a bold arch of pointed flames.

Explaining the representation of Shiva Chandrasekhara, Rathnasabapathy recounts, “The legend behind the depiction of the moon on Siva’s crown is that the moon god, who got into trouble with other gods, was persecuted by them during the ‘Churning of the Ocean of Milk’. Helpless, the mood god found asylum in the person of Siva, who as a gesture of kindness wore him prominently on his crown. All the gods had therefore to bow before him in this advantageous position on the crown of Shiva. Wearing of the moon is therefore symbolic of protection and acceptance of asylum to the downtrodden by the grace of God.” (Rathnasabapathy, The Divine Bronzes, Tamil Nadu, 1982, p.57.)

While this bronze has been published by Pal with an attribution of 975- 1000, it demonstrates features of a more mature Chola style, for which the dating of circa 1100 is more appropriate. Said features include the wheel-like border encircling the sirischakra behind the back of the head. (The sirischakra is another element that is frequently missing from Chola bronzes but is preserved here). The length and projection of his side tassels (katisutra), flailing and plunging by the side of his hips and legs are indicative of Chola bronzes made after the 10th century. Additionally, the sash around his groin slackens acutely at his inner thigh like bronzes from the 11th century onward. For reference, see Sivaramamurti’s treatise on dating by dress and ornamentation in Sivaramamurti, South Indian Bronzes, New Delhi, 1963, pp.24-43 (particularly, figs.14c & 24c). Conversely, the oval face and figural plasticity show more nuance than the heavily stylized Chola sculptures of the late 12th and 13th centuries. Another Chandrashekhara bronze (attributed to the 12th century) is in the Haridas Swali Collection, Mumbai and provides an excellent stylistic comparison (ibid., no.61b). The figure stands on a similarly cast lotus pedestal and the base has equally long tenons, once used to mount its lost aureole.

Published Pratapaditya Pal,The Elegant Image: Hindu, Buddhist and Jain Bronzes from the Indian Subcontinent in the Siddharth K. Bhansali Collection, New Orleans, 2011, p.157, no.85.

Exhibited The Elegant Image: Hindu, Buddhist and Jain Bronzes from the Indian Subcontinent in the Siddharth K. Bhansali Collection, New Orleans Museum of Art, 5 August - 23 October 2011.

Provenance Collection of Siddharth K. Bhansali, New Orleans Acquired in London between 1978-83

66 | BONHAMS INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 67 332 A COPPER ALLOY FIGURE OF BHIKSHATANA With a lustrous, chocolate patina, this example from the Vijayanagara TAMIL NADU, VIJAYANAGARA PERIOD, CIRCA 15TH CENTURY period faithfully preserves Shiva Bhikshatana’s depictions in earlier 4 3/4 in. (12 cm) high Chola sculptures, such as a bronze masterpiece in the Thanjavur Art Gallery (Rathnasabapathy, The Divine Bronzes, Tamil Nadu, $10,000 - 15,000 1982, no.14) and his representation in the carved stone exterior of Arunachalesvara Temple in Tamil Nadu. This elegant figurine depicts Shiva as the Lord of Ascetics, the Supreme Beggar. His four arms, splayed in balance with the agile sway Provenance of his hips convey Shiva Bhikshatana’s beauty, which tempted the Collection of Siddharth K. Bhansali, New Orleans wives of Brahman as he wandered naked through a forest hermitage. Acquired in London between 1978-83 Cast in fine detail, sandals shield Shiva’s feet, a snake clings to his hips, and his hair is arranged in delightful curls before the sirischakra at the back of his head. He holds a drum, a trident, a begging bowl, and a tuft of grass with which he feeds the little deer that once accompanied him.

68 | BONHAMS 333 A COPPER ALLOY FIGURE OF RISHABHANATHA A fine example from a limited corpus of sculpture, Rishabhanatha’s KARNATAKA, CIRCA 9TH CENTURY long legs extending well beyond his lotus seat is a common trait in 6 3/8 in. (16.2 cm) high Karnatak jinas, enhancing the figure’s presence (cf., Pal, The Peaceful Liberators, Los Angeles, 1995, p.165, no.51). The bronze would $30,000 - 50,000 have been produced under the Western Ganga or Western Chalukya dynasties. The overall slenderness and more oval face serve to date This rare bronze from Karnataka in the Deccan Plateau depicts the first the sculpture to c.9th century, before figures become fleshier and Jain saviour (Tirthankara), Rishabhanatha, also known as Adinatha, figures rounder. Compare a 10th-century Karnatak standing Jina “Lord of the Beginning”. Rishabhanatha is identified by the long tresses (Granoff, op. cit., pp.214-5, no.S 28). resting on his broad shoulders. Devotees place his origins to millions of years ago, when in addition to enacting the standard career of a Provenance Tirthankara, he introduced a variety of practical and social skills to Collection of Siddharth K. Bhansali, New Orleans human beings (Granoff (ed.), Victorious Ones, New York, 2009, p.21). Acquired in London between 1978-83

INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 69 334 A COPPER ALLOY FIGURE OF VISHNU WITH GADANARI AND CHAKRAPURUSHA NORTHEASTERN INDIA, BIHAR, POST-GUPTA PERIOD, CIRCA 8TH CENTURY 8 in. (20.3 cm) high

$30,000 - 50,000

As Dr. Pal writes:

“Although missing its base and aureole...this is an important bronze for the completeness of the three figures and its early date. The central columnar figure of Vishnu would originally have stood on a high lotus, while his two personified attributes—Gadanari (Club-woman) and Chakrapurusha (Wheel-man)—stood on the base itself. Vishnu is distinguished by his physical eminence, his garland of wild flowers, and four arms. The front right hand is stretched in the gesture of varada or munificence, while the left holds the conchshell. The additional hands are placed on the heads of the personified attributes.

“The proportions and modeling of all three figures with simple ornaments indicate a post-Gupta date. With his wide shoulders, robust arms, and columnar legs, Vishnu’s figure...is comparable to metal Balarama and Surya images in the British Museum [von Schroder, Indo-Tibetan Bronzes, Hong Kong, 1981, p.221, nos.47D-E]...The two graceful personified attributes here also are closer in style to Gupta-period figures than to those of the Pala period.”

Published Pratapaditya Pal, The Elegant Image: Hindu, Buddhist and Jain Bronzes from the Indian Subcontinent in the Siddharth K. Bhansali Collection, New Orleans, 2011, p.56, no.20.

Exhibited The Elegant Image: Hindu, Buddhist and Jain Bronzes from the Indian Subcontinent in the Siddharth K. Bhansali Collection, New Orleans Museum of Art, 5 August - 23 October 2011.

Provenance Sotheby’s, London, 5 June 1989, lot 90 Collection of Siddharth K. Bhansali, New Orleans

70 | BONHAMS INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 71 335 A SILVER INLAID BRASS FIGURE OF VAJRAPANI KASHMIR, CIRCA 11TH CENTURY Himalayan Art Resources item no.61438 7 3/8 in. (18.7 cm) high

$40,000 - 60,000

克什米爾約十一世紀銅錯銀金剛手菩薩像

Identified by the eponymous vajra in his right hand, Vajrapani is the Great Bodhisattva of Power, the primary protector of Buddhism and its followers. In contrast to his ferocious characterization in later Himalayan art, he is depicted with a benign attitude in early representations such as this.

Vajrapani is often paired with Avalokiteshvara as attendants to either side of a centralized image of Shakyamuni, the leftward arch of his mandorla intended to balance the overall triad. Nevertheless, Kashmiri figures of Vajrapani are considerably rarer than those of Avalokiteshvara.

Compare the sculpture’s composition with a closely related six-armed Lokeshvara in Pal, The Bronzes of Kashmir, New York, 1975, no. 52. Both pieces have broad necklaces, defined kneecaps, double-striped dhotis, and a rectangular waisted base. Another very closely related Padmapani Lokeshvara, without the base, was sold at Sotheby’s, New York, 2 June 1992, lot 90. Also compare similar lions and dancing yaksha in the base with that of a seated Prajnaparamita in the British Museum (1966.6-16.2; von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, p.132, no.23A), and another in Zangchuan fojiao zaoxiang-Gugong bowuyuan cang wenwu zhenpin quanji, Hong Kong, 2008, p. 108, no. 103.

Provenance Collection of Siddharth K. Bhansali, New Orleans Acquired in London, c.1988

72 | BONHAMS INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 73 336 AN ILLUSTRATION FROM A MAHAVIDYA SERIES: MATANGI Seated on the ashen, naked body of Shiva, four-armed, dark-skinned KANGRA OR GULER, CIRCA 1830 Matangi is the true, overwhelming source of divine power. She is one Opaque watercolor with gold and silver on paper; a nagari inscription of the ten Mahavidyas, each a manifestation of the Divine Mother, the identifying the subject in the top border. Adi Parashakti, the supreme primordial energy of the cosmos. Her Image: 9 3/8 x 5 1/8 in. (23.8 x 13 cm); canopied marble pavilion rests on earth’s horizon. Folio: 12 x 7 5/8 in. (30.4 x 19.3 cm) Compare a closely related composition of Dakshina Kali in the Walters $10,000 - 15,000 Art Gallery, Baltimore (Menzies, Goddess: Divine Energy, Sydney, 2006, no. 85). Also see another with an oval frame in Coomaraswamy, Catalogue of the Indian Collections, Part V, Rajput Paintings, Boston, 1926, pl LXIII, no. CXCIX (17.2576), as well as Bonhams, New York, 11 September 2012, lot 93.

Provenance Private Collection, Switzerland, 1970–2013

74 | BONHAMS INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 75 337 A FOLIO FROM A BARAMASA SERIES: THE MONTH OF MAGHA (JANUARY/FEBRUARY) GARHWAL, CIRCA 1780-90 Opaque watercolor and gold on paper; an attached flyleaf with a seven-line nagari inscription of the corresponding poetic verse in black and red. Image: 7 1/4 x 5 3/8 in. (18.3 x 13.6 cm); Folio: 10 x 7 7/8 in. (25.2 x 19.9 cm)

$30,000 - 50,000

The lovers meet below a winter haze, wrapped in heavy, fire- and tiger-orange shawls. A burgundy carpet with dazzling arabesques insulates their bare feet from the cold marble pavilion. They greet one another, like the courting pigeons above Krishna’s head. Lush trees frame Radha, with sinuous branches that reach up to a pair of deer grazing on the frosty horizon, evoking the harmony between our couple.

Compared with the bleak colors of the painting of November/December that preceded it, which is now in the Victoria & Albert Museum (IS.6-1960), this painting’s earth tones and promising natural imagery usher in the tail-end of winter and the anticipation of spring. Perhaps, the reversal of orange from inner to outer garments by each suggests the lovers are warming up to the idea of spending evenings wrapped in each other’s arms out on the pavilion again?

This painting has an excellent pedigree, being formerly of the collection of Bill and Mildred Archer, two eminent scholars of Indian court painting, who authored numerous seminal works. It is from the same set as the cover illustration for Indian Paintings from the Punjab Hills from 1973, as well as the aforementioned painting in the Victoria & Albert Museum, where Bill Archer served as Keeper (Curator) of the Indian Section between 1949-59. He refers to this painting without providing an image in the 1973 book, but otherwise published it heavily before and after.

Published W.G. Archer and D. Bhattacharya, Love Songs of Vidyapati, New York, 1963. pl.1. Mildred Archer and W.G. Archer, Romance and Poetry in Indian Painting: A Loan Exhibition of Indian Miniatures from the collection of Mildred and W. G. Archer, London, 1965, pl.51. W. G. Archer, Pahari Miniatures: A Concise History, Oxford, 1975, col. pl. 37. W. G. Archer, Visions of Courtly India: The Archer Collection of Pahari Paintings, Washington, 1976, p.26, pl.15.

Exhibited Romance and Poetry in Indian Painting: A Loan Exhibition of Indian Miniatures from the collection of Mildred and W. G. Archer, 26 May - 19 June 1965. Visions of Courtly India: The Archer Collection of Pahari Paintings, A Travelling Exhibition Circulated by the International Exhibitions Foundation, 1976-1978

Provenance Ex-Mildred and W. G. Archer Collection, London, by 1963

76 | BONHAMS INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 77 338 A FOLIO FROM THE KANGRA RASIKAPRIYA: KRISHNA EXAMINES A PICTURE OF HIS BELOVED SCHOOL OF PURKHU, KANGRA, CIRCA 1810 Opaque watercolor and gold on paper with an attached flyleaf; painting inscribed on the reverse in nagari script with the text of Rasikapriya chapter 4, verse 12, entitled in red: atha Sri Krishna ko prakasa citra darsana (‘Sri Krishna’s manifest vision [of his beloved] through a painting’) Image: 10 x 6 1/8 in. (25.5 x 15.6 cm); Folio: 13 x 9 in. (33 x 22.8 cm)

$40,000 - 60,000

Discussing another painting from the Kangra Rasikapriya, Goswamy writes, “Krishna becomes for the poet the ideal nyak, and Radha the archetypal beloved. Through them, and occasionally through a sahki-friend, intense love is expressed, experienced, celebrated.” (Goswamy, The Spirit of Indian Painting, 2016, p.441.)

Krishna sits entranced by the portrait of Radha her sakhi has brought him. The crimson sky and abundant poppies reflect the intensity of love Radha’s image inspires in him. The sakhi tries to convey a message, but despite her striking tiger-orange sari, Krishna pays her no heed. His thoughts, his soul are consumed, are owned by Radha.

“The glorious wives of demigods, Past skies who move, kinnari maids, Are naught before her; women all At her feet bow – snake women frail, Slim dancing girls, hill-women tall, She demons, heavenly damsels pale: As if lightening took form divine: Even Kama’s wife poor beside her shows! Like Lakshmi or Sita she shines, And even her picture steals my soul!”

(Bahadur, Rasikapriya, Mumbai, 1972, p.64.)

The artist has placed Krishna at the center of the composition, his long frame intersecting the pavilion’s planes of stark white and grey, perhaps alluding to his conflicting emotions. The plum blossoms superimposed over the intense sky evoke the fragility of love and how quickly it can perish. This is one of the finest and most engaging pages from the Kangra Rasikapriya, where the artist’s use of color, architecture, and line reflect the emotion of the verse and draws the viewer in to be entranced just like Krishna.

The Kangra Rasikapriya, is a large series with paintings of varying quality. This painting is early in the series and of superior quality. Its large figures might indicate the hand of Purkhu (cf. Goswamy & Fischer, ‘Purkhu of Kangra’ in Beach, Fischer & Goswamy, Masters of Indian Painting, Artibus Asiae, Zurich, 2011, pp.719–32). Well known and widely published, see fourteen other paintings from the series in the Victoria and Albert Museum, published in Archer, Indian Painting from the Punjab Hills, 1973, Kangra, no.66 i-vi, pp.305-307. Another was sold at Bonhams, New York, 19 March 2012, lot 1186 and three folios were sold at Sotheby’s, New York, 20 March 2013, lots 311, 315 & 318 and Bonhams, New York, 14 March 2016, lot 107.

Published Jerry Losty, Pahari Paintings from The Eva And Konrad Seitz Collection, Francesca Galloway, London 2016, no.21.

Provenance Collection of Abdur Rahman Chughtai, Lahore (1897-1975) Eva and Konrad Seitz Collection, Germany Francesca Galloway, London, 2016

78 | BONHAMS INDIAN, HIMALAYAN & SOUTHEAST ASIAN ART | 79 Conditions of sale

The following Conditions of Sale, as amended by any liable with the principal under any contract resulting from the or credit card issued in the name of the purchaser or record. published or posted notices or verbal announcements acceptance of a bid. Every bidder shall be responsible for Only one debit or credit card may be used for payment of during the sale, constitute the entire terms and conditions on any use of its assigned paddle or bidding account, regardless an account balance. This method of payment may not be which property listed in the catalog shall be offered for sale of the circumstances. available to first time purchasers. or sold by Bonhams & Butterfields Auctioneers Corp. and any consignor of such property for whom Bonhams acts as 3. You represent and warrant that: (i) you have provided To the fullest extent permitted by applicable law, the buyer agent. By participating in this sale, you agree to be bound by us with true and correct copies of valid identification grants us a security interest in the property, and we may these terms and conditions. and proof of residence and, if applicable, financial and/ retain as collateral security for the buyer’s obligations to us, or corporate documents; (ii) neither you, your principal (if any property and all monies held or received by us for the If live online bidding is available for the subject auction, applicable, and subject to Bonhams’ prior written acceptance account of the buyer, in our possession. We also retain all additional terms and conditions of sale relating to online pursuant to paragraph 2 above), nor any individual or entity rights of a secured party under the Uniform Commercial bidding will apply; see www.bonhams.com/WebTerms for the with a beneficial or ownership interest in either or in the Code (which shall mean the New York Uniform Commercial supplemental terms. As used herein, “Bonhams,” “we” and purchase transaction is on the Specially Designated Nationals Code, except where the Uniform Commercial Code of “us” refer to Bonhams & Butterfields Auctioneers Corp. List maintained by the Office of Foreign Assets Control of the another state governs the perfection of a security interest U.S. Department of the Treasury nor subject to any other in collateral located in that state), and you agree that we 1. As used herein, the term “bid price” means the price sanctions or embargo program or regulation in effect in the may file financing statements without your signature. If the at which a lot is successfully knocked down to the buyer. United States, European Union, England and Wales, or other foregoing conditions or any other applicable conditions The term “purchase price” means the aggregate of (a) the applicable jurisdictions; (iii) if you are acting as an agent for a herein are not complied with, in addition to all other remedies bid price, (b) a PREMIUM retained by us and payable by principal, you have conducted appropriate due diligence into available to us and the consignor by law, we may at our the buyer (the “buyer’s premium”), EQUAL TO 27.5% OF such principal, and agree that Bonhams shall be entitled to election: (a) hold the buyer liable for the full purchase price THE FIRST $12,500 OF THE BID PRICE, PLUS 25% OF rely upon such due diligence, you will retain adequate records and any late charges, collection costs, attorneys’ fees and THE AMOUNT OF THE BID PRICE ABOVE $12,500 UP TO evidencing such due diligence for a period of five (5) years costs, expenses and incidental damages incurred by us or AND INCLUDING $600,000, PLUS 20% OF THE AMOUNT following the consummation of the sale, and will make these the consignor arising out of the buyer’s breach; (b) cancel OF THE BID PRICE ABOVE $600,000 UP TO AND records available for inspection upon Bonhams’ request; the sale, retaining as liquidated damages all payments made INCLUDING $6,000,000, PLUS 14.5% OF THE AMOUNT (vi) neither the purchase transaction (including your bidding by the buyer; and/or (c) cancel the sale and/or resell the OF THE BID PRICE ABOVE $6,000,000, and (c) unless activity) nor the purchase funds are connected with nor purchased property, at public auction and/or by private sale, the buyer is exempt by law from the payment thereof, derive from any criminal activity, and they are not designed to and in such event the buyer shall be liable for the payment any Alabama, Arizona, California, Colorado, Connecticut, nor have they or shall they, violate the banking, anti-money of all consequential damages, including any deficiencies or Florida, Georgia, Hawaii, Idaho, Illinois, Iowa, Indiana, laundering, or currency transfer laws or other regulations monetary losses, and all costs and expenses of such sale Kentucky, Louisiana, Maine, Maryland, Massachusetts, (including without limitation, import-export laws) of any or sales, our commissions at our standard rates, all other Michigan, Minnesota, Mississippi, Nebraska, Nevada, country or jurisdiction, or further any other unlawful purpose, charges due hereunder, all late charges, collection costs, New Jersey, New York, North Carolina, Ohio, Oklahoma, including without limitation collusion, anti-competitive activity, attorneys’ fees and costs, expenses and incidental damages. 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In order to bid at the sale, prospective bidders and subject to compliance with all of the conditions set forth If all fees, commissions, premiums, bid prices and other must submit to Bonhams a completed bidder registration herein and (a) assumes full risk and responsibility therefor, (b) sums due to us from the buyer are not paid promptly as form (appearing at the end of this catalog) and any other if requested will sign a confirmation of purchase, and (c) will provided in these Conditions of Sale, we reserve the right requested information or references. New bidders and pay the purchase price in full or such part as we may require to impose a finance charge equal to 1.5% per month (or, if bidders who have not recently updated their registration for all lots purchased. No lot may be transferred. lower, the maximum nonusurious rate of interest permitted information must pre-register to bid at least two business by applicable law), on all amounts due to us beginning on days before the sale. Individuals will be required to provide Unless otherwise agreed, payment in good, cleared funds is the 31st day following the sale until payment is received, in government-issued proof of identity and proof of address. due and payable within five (5) business days following the addition to other remedies available to us by law. auction sale. Whenever the buyer pays only a part of the Entity clients will be required to provide documentation 5. We reserve the right to withdraw any property and to including confirmation of entity registration showing the total purchase price for one or more lots purchased, we may apply such payments, in our sole discretion, to the lot or lots divide and combine lots at any time before such property’s registered name, confirmation of registered address, auction. Unless otherwise announced by the auctioneer documentary proof of officers and beneficial owners, proof of we choose. Payment will not be deemed made in full until we have received good, cleared funds for all amounts due. at the time of sale, all bids are per lot as numbered in the authority to transact on behalf of the entity and government- catalog and no lots shall be divided or combined for sale. issued proof of identity for the individual who is transacting on Title in any purchased property will not pass until full and final the entity’s behalf. payment has been received by Bonhams. Accounts must be 6. 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If we are prevented by fire, theft or any other reason prior to the commencement of the sale there is a written accepted from a given purchaser is limited to US $5,000 per whatsoever from delivering any property to the buyer or a acceptance by Bonhams of a bidder registration form auction sale (whether by single or multiple related payments). sale otherwise cannot be completed, our liability shall be completed and signed by the principal which clearly states If the amount payable exceeds that sum, the balance must limited to the sum actually paid therefor by the buyer and that the authorized bidding agent is acting on behalf of be paid by another method. shall in no event include any compensatory, incidental or the named principal. Absent such written acceptance by (ii) Cashier’s check, money order, or personal check with consequential damages. Bonhams, any person placing a bid as agent on behalf of approved credit drawn on a U.S. bank. 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If any part of these international alternative dispute resolution (“ADR”) provider subsequent bid is below the reserve for a lot, (s)he may Conditions of Sale is for any reason invalid or unenforceable, of Bonhams’ choice, and the arbitrator shall be selected in reject such opening bid and withdraw the item from sale. the rest shall remain valid and enforceable. accordance with JAMS’ Streamlined Arbitration Rules and CONSIGNORS ARE NOT ALLOWED TO BID ON THEIR Procedures or the rules of the other ADR provider selected OWN ITEMS. 14. These Conditions of Sale and the buyer’s and our by Bonhams. The arbitrator’s award shall be in writing and respective rights and obligations hereunder shall be governed shall set forth findings of fact and legal conclusions. 9. Other than as provided in the Limited Right of by and construed and enforced in accordance with the Rescission with respect to identification of authorship, all laws of the State of New York. 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Bonhams and the consignor make no If within one (1) year from the date of sale, the original buyer representation or warranty as to whether the buyer acquires (a) Within 30 days of written notice that there is a (a) gives written notice to us alleging that the identification any copyrights on the purchase of an item of Property. dispute, the parties or their authorized and empowered of Authorship (as defined below) of such lot as set forth in 12. Bonhams may, in our discretion, as a courtesy representatives shall meet by telephone and/or in person the UPPERCASE TYPE heading of the catalog description and free of charge, execute bids on your behalf if so to mediate their differences. If the parties agree, a mutually of such lot (as amended by any saleroom notices or verbal instructed by you, provided that neither Bonhams nor our acceptable mediator shall be selected and the parties will announcements during the sale) is not substantially correct employees or agents will be liable for any error or default equally share the fees and expenses of mediation. The based on a fair reading of the catalog (including the terms of (whether human or otherwise) in doing so or for failing to mediator shall be a retired judge or an attorney familiar with any glossary contained therein), and (b) within 10 days after do so. Without limiting the foregoing, Bonhams (including commercial law and trained in or qualified by experience in such notice returns the lot to us in the same condition as our agents and employees) shall not be responsible for handling mediations. 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All proceedings written opinions by recognized experts in the field, as we may limitation, any telecommunications or internet fault or and any resolutions thereof shall be confidential, and the reasonably require), then the sale of such lot will be rescinded failure, or breakdown or problems with any devices or terms governing arbitration set forth in paragraph (c) below and, unless we have already paid to the consignor monies online platforms, including third-party online platforms, shall govern. owed him in connection with the sale, the original purchase price will be refunded. regardless of whether such issue arises with our, your, or (b) If mediation does not resolve all disputes between such third-party’s technology, equipment, or connection. the parties, or in any event no longer than 60 days after If, prior to receiving such notice from the original buyer By participating at auction by telephone or online, bidders receipt of the written notice of dispute referred to above, the alleging such defect, we have paid the consignor monies expressly consent to the recording of their bidding sessions parties shall submit the dispute for binding arbitration before owed him in connection with the sale, we shall pay the and related communications with Bonhams and our a single neutral arbitrator. Such arbitrator shall be a retired original buyer the amount of our commissions, any other employees and agents, and acknowledge their acceptance judge or an attorney familiar with commercial law and trained sale proceeds to which we are entitled and applicable taxes of these Conditions of Sale as well as any additional terms in or qualified by experience in handling arbitrations. Such received from the buyer on the sale and make demand on and conditions applicable to any such bidding platform or arbitrator shall make all appropriate disclosures required by the consignor to pay the balance of the original purchase technology. law. The arbitrator shall be drawn from a panel of a national price to the original buyer. Should the consignor fail to pay 13. These Conditions of Sale shall bind the successors or international arbitration service agreed to by the parties, such amount promptly, we may disclose the identity of NY/MAIN/11.2020 Conditions of sale - continued the consignor and assign to the original buyer our rights “Authorship” means only the identity of the creator, the LIMITATION OF LIABILITY against the consignor with respect to the lot the sale of period, culture and source or origin of the lot, as the case which is sought to be rescinded. Upon such disclosure and may be, as set forth in the UPPERCASE TYPE heading EXCEPT AS EXPRESSLY PROVIDED ABOVE, ALL assignment, any liability of Bonhams as consignor’s agent of the print catalog entry. The right of rescission does not PROPERTY IS SOLD “AS IS.” NEITHER BONHAMS NOR with respect to said lot shall automatically terminate. extend to: (a) works of art executed before 1870 (unless THE CONSIGNOR MAKES ANY REPRESENTATION these works are determined to be counterfeits created since OR WARRANTY, EXPRESS OR IMPLIED, AS TO THE The foregoing limited right of rescission is available to the 1870), as this is a matter of current scholarly opinion which original buyer only and may not be assigned to or relied MERCHANTABILITY, FITNESS OR CONDITION OF can change; (b) titles, descriptions, or other identification of THE PROPERTY OR AS TO THE CORRECTNESS upon by any subsequent transferee of the property sold. offered lots, which information normally appears in lower The buyer hereby accepts the benefit of the consignor’s OF DESCRIPTION, GENUINENESS, ATTRIBUTION, case type below the UPPERCASE TYPE heading identifying PROVENANCE OR PERIOD OF THE PROPERTY warranty of title and other representations and warranties the Authorship; (c) Authorship of any lot where it was made by the consignor for the buyer’s benefit. Nothing in OR AS TO WHETHER THE BUYER ACQUIRES ANY specifically mentioned that there exists a conflict of specialist COPYRIGHTS OR OTHER INTELLECTUAL PROPERTY this section shall be construed as an admission by us of or scholarly opinion regarding the Authorship of the lot at the any representation of fact, express or implied, obligation or RIGHTS IN LOTS SOLD OR AS TO WHETHER A WORK time of sale; (d) Authorship of any lot which as of the date OF ART IS SUBJECT TO THE ARTIST’S MORAL RIGHTS responsibility with respect to any lot. THE BUYER’S SOLE of sale was in accordance with the then generally-accepted AND EXCLUSIVE REMEDY AGAINST BONHAMS FOR OR OTHER RESIDUAL RIGHTS OF THE ARTIST. THE opinion of scholars and specialists regarding the same; or BUYER EXPRESSLY ACKNOWLEDGES AND AGREES ANY REASON WHATSOEVER IS THE LIMITED RIGHT OF (e) the identification of periods or dates of creation in catalog RESCISSION DESCRIBED IN THIS SECTION. THAT IN NO EVENT SHALL BONHAMS BE LIABLE FOR descriptions which may be proven inaccurate by means of ANY DAMAGES INCLUDING, WITHOUT LIMITATION, ANY scientific processes that are not generally accepted for use COMPENSATORY, INCIDENTAL OR CONSEQUENTIAL until after publication of the catalog in which the property is DAMAGES. IN NO EVENT SHALL THE AGGREGATE offered or that were unreasonably expensive or impractical LIABILITY OF BONHAMS AND ITS CONSIGNOR TO to use at the time of such publication. A PURCHASER EXCEED THE PURCHASE PRICE ACTUALLY PAID FOR A DISPUTED ITEM OF PROPERTY.

Seller’s guide

SELLING AT AUCTION CONSIGNING YOUR PROPERTY ESTATE SERVICES Bonhams can help you every step of the way when you are After you receive an estimate, you may consign your property Since 1865, Bonhams has been serving the needs of ready to sell art, antiques and collectible items at auction. to us for sale in the next appropriate auction. Our staff assists fiduciaries – lawyers, trust officers, accountants and Our regional offices and representatives throughout the US you throughout the process, arranging transportation of your executors – in the disposition of large and small estates. are available to service all of your needs. Should you have items to our galleries (at the consignor’s expense), providing Our services are specially designed to aid in the efficient any further questions, please visit our website at www. a detailed inventory of your consignment, and reporting the appraisal and disposition of fine art, antiques, jewelry, and bonhams.com/us for more information or call our Client prices realized for each lot. We provide secure storage for collectibles. We offer a full range of estate services, ranging Services Department at +1 (212) 644 9001. your property in our warehouses and all items are insured from flexible financial terms to tailored accounting for throughout the auction process. You will receive payment for heirs and their agents to world-class marketing and sales AUCTION ESTIMATES your property approximately 35 days after completion of sale. support. The first step in the auction process is to determine the Sales commissions vary with the potential auction value of For more information or to obtain a detailed Trust and auction value of your property. Bonhams’ world-renowned the property and the particular auction in which the property Estates package, please visit our website at specialists will evaluate your special items at no charge and www. is offered. Please call us for commission rates. or contact our Client Services in complete confidence. You can obtain an auction estimate bonhams.com/us Department. in many ways: PROFESSIONAL APPRAISAL SERVICES • Attend one of our Auction Evaluation Events held regularly Bonhams’ specialists conduct insurance and fair market at our galleries and in other major metropolitan areas. The value appraisals for private collectors, corporations, updated schedule for Bonhams Auction Evaluation Events museums, fiduciaries and government entities on a daily is available at www.bonhams.com/us. basis. Insurance appraisals, used for insurance purposes, reflect the cost of replacing property in today’s retail market. • Call our Client Services Department to schedule a private Fair market value appraisals are used for estate, tax and appointment at one of our galleries. If you have a large family division purposes and reflect prices paid by a willing collection, our specialists can travel, by appointment, to buyer to a willing seller. evaluate your property on site. When we conduct a private appraisal, our specialists will • Send clear photographs to us of each individual item, prepare a thorough inventory listing of all your appraised including item dimensions and other pertinent information property by category. Valuations, complete descriptions and with each picture. Photos should be sent to Bonhams’ locations of items are included in the documentation. address in envelopes marked as “photo auction estimate”. Alternatively, you can submit your request using our online Appraisal fees vary according to the nature of the collection, form at www.bonhams.com/us. Digital images may be the amount of work involved, the travel distance, and attached to the form. Please limit your images to no more whether the property is subsequently consigned for auction. than five (5) per item. Our appraisers are available to help you anywhere and at any time. Please call our Client Services Department to schedule an appraisal.

NY/MAIN/11.2020 Buyer’s guide

BUYING AND BIDDING AT AUCTION In Person All sales are final and subject to the Conditions of Sale found If you are planning to bid at auction for the first time, you will in our catalogs, on our website, and available at the reception Whether you are an experienced bidder or an enthusiastic need to register at the reception desk in order to receive a desk. novice, auctions provide a stimulating atmosphere unlike any numbered bid card. To place a bid, hold up your card so that other. Bonhams previews and sales are free and open to the the auctioneer can clearly see it. Decide on the maximum Payment public. As you will find in these directions, bidding and buying Payment may be made to Bonhams by cash, checks auction price that you wish to pay, exclusive of buyer’s at auction is easy and exciting. 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Other state or local bid just as you would, with the goal of obtaining the item at form in this catalog, call our Client Services Department, or taxes (or compensation use taxes) may apply. Sales tax will the lowest bid price possible. In the event identical bids are visit our website at www.bonhams.com/us. be automatically added to the invoice unless a valid resale submitted, the earliest bid submitted will take precedence. number has been furnished or the property is shipped via Absentee bids shall be executed in competition with other Previews common carrier to destinations outside the states listed in Auction previews are your chance to inspect each lot prior to absentee bids, any applicable reserve, and bids from other the Conditions of Sale. If you wish to use your resale license the auction. We encourage you to look closely and examine auction participants. A friend or agent may place bids on please contact Client Services for our form. each object on which you may want to bid so that you will your behalf, provided that we have received your written know as much as possible about it. Except as expressly set authorization prior to the sale. Absentee bid forms are Collection of Purchases forth in the Conditions of Sale, items are sold “as is” and available in our catalogs, online at www.bonhams.com/ Scheduling an appointment and payment in full prior to arrival with all faults; illustrations in our catalogs, website and other us, at offsite auction locations and at our Los Angeles, San will facilitate the quick release of your property. If you are materials are provided for identification only. At the previews, Francisco and New York galleries. sending a third-party to collect, please provide details to our our staff is always available to answer your questions and Client Services Department at [email protected] guide you through the auction process. Condition reports may By Telephone prior to your scheduled pickup or we will be unable to release We can arrange for you to bid by telephone. To arrange for a be available upon request. your property. telephone bid, please contact our Client Services Department Estimates a minimum of 24 hours prior to the sale. For your convenience, pre-allocated 30-minute collection time Bonhams catalogs include low and high value estimates slots are available Monday through Friday between 9am – for each lot, exclusive of the buyer’s premium and tax. The Online 4:30pm. To schedule collection of purchases, please contact We offer live online bidding for most auctions and accept estimates are provided as an approximate guide to current our Client Services Department on +1 (212) 644 9001. absentee bids online for all our auctions. Please visit market value based primarily on previous auction results www.bonhams.com/us for details. for comparable pieces, and should not be interpreted as a Shipping & Removal Bonhams can accommodate shipping for certain items. If you representation or prediction of actual selling prices. They Bid Increments wish to receive a Bonhams Shipping quote, please confirm as are determined well in advance of a sale and are subject to Bonhams generally uses the following increment multiples as such at the time of registration. Carriers are not permitted to revision. Please contact us should you have any questions bidding progresses: deliver to PO boxes. about value estimates. $50-200...... by $10s International buyers are responsible for all import/export Reserve customs duties and taxes. An invoice stating the actual All lots in a catalog are subject to a reserve unless otherwise $200-500...... by $20/50/80s purchase price will accompany all international purchases. indicated. The reserve is the minimum price that the seller $500-1,000...... by $50s is willing to accept for a lot. This amount is confidential and Handling and Storage Charges does not exceed the low estimated value. $1,000-2,000...... by $100s Storage charges of $5 per lot, per day will begin accruing for any lots not collected within 14 calendar days of the auction. Auction House’s Interest in Property Offered at Auction $2,000-5,000...... by $200/500/800s On occasion, Bonhams may offer property in which it has Bonhams reserve the right to remove uncollected sold lots to an ownership interest in whole or in part or otherwise has an $5,000-10,000…...... by $500s the warehouse of our choice at the buyer’s risk and expense. economic interest. Such property, if any, is identified in the $10,000-20,000...... by $1,000s Further transfer, handling, storage and full value protection catalog with a ▲ symbol next to the lot number(s). Bonhams fees will apply if move to a warehouse of our choice. may also offer property for a consignor that has been $20,000-50,000...... by $2,000/5,000/8,000s guaranteed a minimum price for its property by Bonhams $50,000-100,000...... by $5,000s or jointly by Bonhams and a third party. Bonhams and any third parties providing a guarantee may benefit financially if $100,000-200,000...... by $10,000s the guaranteed property is sold successfully and may incur above $200,000...... at auctioneer’s a financial loss if its sale is not successful. Such property, if discretion any, is identified in the catalog with a symbol next to the lot number(s). The auctioneer may split or reject any bid at any time at his or her discretion as outlined in the Conditions of Bidding at Auction At Bonhams, you can bid in many ways: in person, via Sale. absentee bid, over the phone, or via Bonhams’ live online Currency Converter bidding facility. Absentee bids can be submitted in person, Solely for the convenience of bidders, a currency converter online, or via email. Irrespective of previous bidding activity may be provided at Bonhams’ auctions. The rates quoted for a valid Bonhams client account is required to participate in conversion of other currencies to U.S. Dollars are indications bidding activity. You will be required to provide government- only and should not be relied upon by a bidder, and neither issued proof of identity and residence, and if you are a Bonhams nor its agents shall be responsible for any errors company, your certificate of incorporation or equivalent or omissions in the operation or accuracy of the currency documentation with your name and registered address, converter. government issued proof of your current address, documentary proof of your beneficial owners and directors, and proof of Buyer’s Premium A buyer’s premium is added to the winning bid price of authority to transact. By bidding at auction, whether in person each individual lot purchased, at the rates set forth in the or by agent, by absentee bid, telephone, online or other means, Conditions of Sale. The winning bid price plus the premium the buyer or bidder agrees to be bound by the Conditions of constitute the purchase price for the lot. Applicable sales Sale. Lots are auctioned in consecutive numerical order as taxes are computed based on this figure, and the total they appear in the catalog. Bidding normally begins below the becomes your final purchase price. low estimate. The auctioneer will accept bids from interested parties present in the saleroom, from telephone bidders, and Unless specifically illustrated and noted, fine art frames are from absentee bidders who have left written bids in advance of not included in the estimate or purchase price. Bonhams the sale. The auctioneer may also execute bids on behalf of the accepts no liability for damage or loss to frames during consignor up to the amount of the reserve, but never above it. storage or shipment. We assume no responsibility for failure to execute bids for any reason whatsoever. NY/MAIN/11.2020 Images of Devotion Download Bonhams app Hong Kong | April 21, 2021 for iOS & Android

ENQUIRIES A GILT COPPER ALLOY FIGURE OF TARA A THANGKA OF SCENES FROM Edward Wilkinson TIBET, DENSATIL STYLE, CIRCA 14TH CENTURY THE LIFE OF MILAREPA (DETAIL) +852 2918 4321 17 cm (6 3/4 in.) high EASTERN TIBET, 18TH CENTURY [email protected] 西藏丹薩替風格約十四世紀銅鎏金度母像 108 x 63.5 cm (42 1/2 x 25 in.) bonhams.com/Himalayan HK$3,200,000 - 4,500,000 * 藏東十八世紀密勒日巴傳記唐卡（局部） Prices shown include buyer’s premium. Details can be found at bonhams.com HK$3,200,000 - 4,500,000 *

* For details of the charges payable in addition to the final hammer price, please visit bonhams.com/buyersguide Images of Devotion Download Bonhams app Hong Kong | April 21, 2021 for iOS & Android

* For details of the charges payable in addition to the final hammer price, please visit bonhams.com/buyersguide 登記及競投表格邦瀚斯 (出席者／書面競投／網上／電話競投) 請選擇競投方法號牌 (僅供本公司填寫)

本拍賣會將根據邦瀚斯的「業務規定」進行，在拍賣會標題拍賣會日期拍賣會的競投及購買將由「業務規定」規管。閣 : : 下閱讀「業務規定」時應一併閱讀有關本拍賣會的「拍賣會資料」，該「拍賣會資料」載有閣下拍賣會編號: 拍賣會場地: 香港於作出購買時須支付的費用，以及有關在拍賣會競投及購買的其他條款。閣下若對「業務規定」如閣下未能親身出席拍賣會，請最遲於拍賣會前24小提供閣下欲競投的拍賣品詳情。競投將被下調至最有任何疑問，應在簽署本表格前提出。「業務規接近的競投增幅。請參閱圖錄中「競投者須知」內有關指示邦瀚斯代表閣下執行電話、網上或書面競投定」亦包含由競投人及買家作出的若干承諾及限的進一步資料。邦瀚斯將代表閣下盡力執行該等競投，但本公司並不對任何錯誤或未能執行競投承擔責制邦瀚斯對競投人及買家的責任。任。一般競投價遞增幅度（港元）: 資料保護－閣下資料的使用 $10,000 - 20,000...... 按 1,000s $200,000 - 500,000...... 按 20,000 / 50,000 / 80,000s 在本公司獲得任何有關閣下的個人資料時，本公 $20,000 - 50,000...... 按 2,000 / 5,000 / 8,000s $500,000 - 1,000,000...... 按 50,000s 司只會根據本公司的「私隱政策」條款使用閣下 $50,000 - 100,000...... 按 5,000s $1,000,000 - 2,000,000...... 按 100,000s 的資料（以閣下披露資料時給予本公司的任何 $100,000 - 200,000...... 按 10,000s $2,000,000以上………....由拍賣官酌情決定額外特定同意為準）。閣下可透過本公司網站拍賣官可隨時酌情決定把任何競投價拆細。 (www.bonhams.com)、郵寄香港金鐘道88號太古廣場一期2001室客戶服務部或電郵至hongkong@ bonhams.com索取「私隱政策」的副本。我們客戶編號稱銜可能會提供您的個人資訊給公司內成員，意即其子公司、或最终控股公司與其子公司（無論註冊名姓於英國或其他地區），我們不會將您的資訊透露公司名稱(如適用的話將作為發票收票人) 給公司以外人員，但可能會不定時向您提供您可能會有興趣之資訊，包括第三方提供之產品及服地址務。

如欲接收我们的資訊，請選擇：電郵郵寄城市縣／郡郵編國家競投者須知客戶需提供身份證明文件如護照、駕駛執照、身流動電話日間電話份證的副本證明，以及住址證明如水電費賬單、銀行或信用卡結算單等。公司客戶亦需提供公司夜間電話傳真章程／公司註冊文件的副本，以及授權個別人士競投電話號碼（包括電話國家區號）代表進行競投的函件。如閣下未能提供上述文件，可能導致本公司未能處理閣下的競投。如閣下競投高價的拍賣品，本公司可能要求閣下提供銀行信用證明。電郵（大楷）閣下倘若提供以上電郵地址，代表授權邦瀚斯可把跟拍賣會﹑市場資料與消息相關的信息發送至此電郵地址。邦瀚若成功購買拍品斯不會售賣或與第三方交換此電郵地址資料。本人登記為私人客戶本人登記為交易客戶本人將自行提取貨品請安排運輸公司聯繫我提供報價，請注意所有電話對話將被錄音以往曾於本公司登記我同意將本人聯繫資料交予運輸公司。重要提示除非事前另行與邦瀚斯以書面協定競投人以第三方代理人的身份行事，否則一經登記，競投人須對其購買款 * 任何人士、競投人及買家必須年滿18歲方可於拍賣會項承擔個人責任。任何作為他人代理的人士（不論他是否已披露其為代理或其主事人的身份）須就其獲接納上參與競投葡萄酒、烈酒及酒精飲料等拍賣品。的出價而產生的合約與主事人共同及個別地向賣家及邦瀚斯承擔責任。透過簽署此表格，閣下同意接受本圖錄內的「競投者須知」的約束。閣下亦授權邦瀚斯向閣下的銀行查詢閣下的財務狀況。邦瀚斯可要求閣下提供身份證明及永久地址供查核及客戶管理用途。

最高港元競投價電話或書面拍賣品說明 (不包括買家費用) 競投拍賣品編號應急競投價*

閣下簽署此表格，則代表閣下已閱讀圖錄，亦已細閱並理解我們的「業務規定」，並願意受其約束，及同意繳付「競投人通告」內提及「買家費用」﹑增值稅及其他收費。這影響閣下的法律權利。

簽字: 日期:

* 應急競投價：表示如在競投期間我們未能透過電話與閣下聯絡或電話連線中斷，則只有邦瀚斯可獲閣下授權以應急競投價為最高競投價（不包括買家費用）代閣下進行競投。進行付款的戶口持有人名稱必須與發票及「拍賣登記表格」上所列的名稱相同。請將填妥的「拍賣登記表格」及所需資料電郵或傳真至: 香港金鐘道88號太古廣場一期2001室客戶服務部電話：+852 2918 4321 傳真：+852 2918 4320，[email protected] 香港金鐘道88號太古廣場一期2001室Bonhams (Hong Kong) Limited.公司編號1426522 HK/10/18 登記及競投表格邦瀚斯 (出席者／書面競投／網上／電話競投) 請選擇競投方法號牌 (僅供本公司填寫)

最高港元競投價電話或書面拍賣品說明 (不包括買家費用) 競投拍賣品編號應急競投價*

簽字: 日期:

* 應急競投價：表示如在競投期間我們未能透過電話與閣下聯絡或電話連線中斷，則只有邦瀚斯可獲閣下授權以應急競投價為最高競投價（不包括買家費用）代閣下進行競投。進行付款的戶口持有人名稱必須與發票及「拍賣登記表格」上所列的名稱相同。請將填妥的「拍賣登記表格」及所需資料電郵或傳真至: 香港金鐘道88號太古廣場一期2001室客戶服務部電話：+852 2918 4321 傳真：+852 2918 4320，[email protected] 香港金鐘道88號太古廣場一期2001室Bonhams (Hong Kong) Limited.公司編號1426522 HK/10/18 Auction Registration Form (Attendee / Absentee / Online / Telephone Bidding) Please circle your bidding method above.

Sale title: Indian, Himalayan & Southeast Asian Art Sale date: Tuesday March 16, 2020

Paddle number (for office use only) Sale no. 26521 Sale venue: New York

General Notice: This sale will be conducted in accordance General Bid Increments: with Bonhams Conditions of Sale, and your bidding and $10 - 200 ...... by 10s $10,000 - 20,000 ...... by 1,000s buying at the sale will be governed by such terms and $200 - 500 ...... by 20 / 50 / 80s $20,000 - 50,000 ...... by 2,000 / 5,000 / 8,000s conditions. Please read the Conditions of Sale in conjunction $500 - 1,000 ...... by 50s $50,000 - 100,000 ...... by 5,000s with the Buyer’s Guide relating to this sale and other $1,000 - 2,000 ...... by 100s $100,000 - 200,000 .....by 10,000s published notices and terms relating to bidding. above $200,000 ...... at the auctioneer’s discretion Payment by personal or business check may result in your $2,000 - 5,000 ...... by 200 / 500 / 800s property not being released until purchase funds clear our $5,000 - 10,000 ...... by 500s The auctioneer has discretion to split any bid at any time. bank. Checks must be drawn on a U.S. bank. Customer Number Title Notice to Absentee Bidders: In the table below, please provide details of the lots on which you wish to place bids at First Name Last Name least 24 hours prior to the sale. Bids will be rounded down to the nearest increment. Please refer to the Buyer’s Guide in Company name (to be invoiced if applicable) the catalog for further information relating to instructions to Bonhams to execute absentee bids on your behalf. Bonhams Address will endeavor to execute bids on your behalf but will not be liable for any errors or non-executed bids. City County / State Notice to First Time Bidders: New clients are requested to provide photographic proof of ID - passport, driving license, ID Post / Zip code Country card, together with proof of address - utility bill, bank or credit card statement etc. Corporate clients should also provide a Telephone mobile Telephone daytime copy of their articles of association / company registration documents, together with a letter authorizing the individual to Telephone evening bid on the company’s behalf. Failure to provide this may result in your bids not being processed. For higher value lots you may Telephone bidders: indicate primary and secondary contact numbers by writing 1 or 2 also be asked to provide a bankers reference. next to the telephone number. E-mail (in capitals) Notice to online bidders; If you have forgotten your username and password for www.bonhams.com, please By providing your email address above, you authorize Bonhams to send you marketing materials and news concerning Bonhams contact Client Services. and partner organizations. Bonhams does not sell or trade email addresses. I am registering to bid as a private client I am registering to bid as a trade client If successful I will collect the purchases myself Please contact me with a shipping quote (if applicable) Resale: please enter your resale license number here I will arrange a third party to collect my purchase(s) We may contact you for additional information.

Please email the completed Registration Form and requested information to: SHIPPING Bonhams Client Services Department 580 Madison Avenue Shipping Address (if different than above): New York, New York 10022 Address: ______Country: ______Tel +1 (212) 644 9001 [email protected] City: ______Post/ZIP code: ______

Please note that all telephone calls are recorded.

Type of bid Brief description MAX bid in US$ Lot no. (In the event of any discrepancy, lot number and not lot description will govern.) (excluding premium and applicable tax) (A-Absentee, T-Telephone) If you are bidding online there is no need to complete this section. Emergency bid for telephone bidders only*

You instruct us to execute each absentee bid up to the corresponding bid * Emergency Bid: A maximum bid (exclusive of Buyer’s Premium and tax) to be executed amount indicated above. by Bonhams only if we are unable to contact you by telephone or should the connection be lost during bidding.

BY SIGNING THIS FORM YOU AGREE THAT YOU HAVE READ AND UNDERSTAND OUR CONDITIONS OF SALE AND SHALL BE LEGALLY BOUND BY THEM, AND YOU AGREE TO PAY THE BUYER’S PREMIUM, ANY APPLICABLE TAXES, AND ANY OTHER CHARGES MENTIONED IN THE BUYER’S GUIDE OR CONDITIONS OF SALE. THIS AFFECTS YOUR LEGAL RIGHTS.

Your signature: Date:

NY/MAIN/10.20 Auction Registration Form (Attendee / Absentee / Online / Telephone Bidding) Please circle your bidding method above.

Sale title: Sale date: Tuesday March 16, 2020

Paddle number (for office use only) Sale no. Sale venue: New York

Please note that all telephone calls are recorded.

Your signature: Date:

NY/MAIN/10.20 Bonhams 580 Madison Avenue New York, NY 10022

+1 212 644 9001 bonhams.com

AUCTIONEERS SINCE 1793