PRINTPROVENANCE:
Private collection, Europe
Private collection, Europe
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664
A KHALKHA MONGOLS GILT-BRONZE FIGURE OF GURU, ZANABAZAR SCHOOL
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17th Century |
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Estimate
1,500,000 - 2,000,000 49,800 - 66,400 389,000 - 518,000
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Catalogue Note
A Khalkha Mongols Gilt-Bronze Figure of Guru Zanabazar School
17th Century
This is a figure of Tibetan Guru, finely cast seated in dhyanasana on a lotus base, with left hand held in dhyanamudra, right hand in dharmachakramudra, wearing richly decorated robes falling over the crossed-legs in loose pleats, the hems incised with florets and diaper patterns, the fair face with a serene expression surmounted by a pointed hat with overhanging lappets falling to the shoulders, the base sealed and centered with a vishvavajra. The exquisite handicrafts show the uttermost respect the figure maker has towards the Guru. With the smooth lines and vivid portrayal, this lot belongs to the best collection of the early Qing Zanabazar School of Khalkha Mongols.
Guru is a Sanskrit term that connotes someone who is a "teacher, guide, expert, or master" of certain knowledge or field. In pan- Indian traditions, guru is someone more than a teacher, traditionally a reverential figure to the student, with the guru serving as a counselor, who helps mold values, shares experiential knowledge as much as literal knowledge, an exemplar in life, an inspirational source and who helps in the spiritual evolution of a student.
Zanabazar (1635-1723) is "reincarnation of Jebtsundamba" and the first Bogd Gegeen, or supreme spiritual authority, of the Gelugpa (Yellow Hat) lineage of Tibetan Buddhism in Mongolia. His close ties with both Khalka Mongol leaders and the devout Kangxi Emperor facilitated the Khalkha's submission to Qing rule in 1691.
Zanabazar was recognized as a sculptor par excellence among the Buddhist countries of Asia and the greatest sculptor of Mongolia and is sometimes referred to as the Michelangelo of Asia as he epitomized the Mongolian Renaissance. Upon his return from Tibet in 1651 and 1656, he revived the art of metal image making in Mongolia, through carved images of various Buddhist gods from bronze or copper. Zanabazar established unique features for Mongolian Buddhism including Tibetan influenced yet redesigned lama robes, reworked melodies for chanting, and modifications of traditional ceremonies either in the melodies or by the introduction of new prayer texts which he composed. During his time in Tibet, Zanabazar came to admire the Nepali style of representational arts favored by the Gelug school and it profoundly influenced his own artistic development and style, which prominently differentiated his style from the then Tibet Buddhist arts.
17th Century
This is a figure of Tibetan Guru, finely cast seated in dhyanasana on a lotus base, with left hand held in dhyanamudra, right hand in dharmachakramudra, wearing richly decorated robes falling over the crossed-legs in loose pleats, the hems incised with florets and diaper patterns, the fair face with a serene expression surmounted by a pointed hat with overhanging lappets falling to the shoulders, the base sealed and centered with a vishvavajra. The exquisite handicrafts show the uttermost respect the figure maker has towards the Guru. With the smooth lines and vivid portrayal, this lot belongs to the best collection of the early Qing Zanabazar School of Khalkha Mongols.
Guru is a Sanskrit term that connotes someone who is a "teacher, guide, expert, or master" of certain knowledge or field. In pan- Indian traditions, guru is someone more than a teacher, traditionally a reverential figure to the student, with the guru serving as a counselor, who helps mold values, shares experiential knowledge as much as literal knowledge, an exemplar in life, an inspirational source and who helps in the spiritual evolution of a student.
Zanabazar (1635-1723) is "reincarnation of Jebtsundamba" and the first Bogd Gegeen, or supreme spiritual authority, of the Gelugpa (Yellow Hat) lineage of Tibetan Buddhism in Mongolia. His close ties with both Khalka Mongol leaders and the devout Kangxi Emperor facilitated the Khalkha's submission to Qing rule in 1691.
Zanabazar was recognized as a sculptor par excellence among the Buddhist countries of Asia and the greatest sculptor of Mongolia and is sometimes referred to as the Michelangelo of Asia as he epitomized the Mongolian Renaissance. Upon his return from Tibet in 1651 and 1656, he revived the art of metal image making in Mongolia, through carved images of various Buddhist gods from bronze or copper. Zanabazar established unique features for Mongolian Buddhism including Tibetan influenced yet redesigned lama robes, reworked melodies for chanting, and modifications of traditional ceremonies either in the melodies or by the introduction of new prayer texts which he composed. During his time in Tibet, Zanabazar came to admire the Nepali style of representational arts favored by the Gelug school and it profoundly influenced his own artistic development and style, which prominently differentiated his style from the then Tibet Buddhist arts.