A Painting of the Mahabodhi Vihar
A Painting of the Mahabodhi Vihar

TIBET, 19TH CENTURY

Details
A Painting of the Mahabodhi Vihar
TIBET, 19TH CENTURY
Finely detailed depicting a large golden multi-tier stupa, the lower tier with Machig Pelha seated at center flanked by a dancing Ganapati and Pandara Sarasvati, the second tier with the Buddha Shakyamuni flanked by Sariputra and Maudgalyayana, the third tier with Vajradhara flanked by Mahasiddhas Tilopa and Naropa, the roof composed of tiers of Buddhas and topped with a single Buddha seated within a golden stupa surmounted by an umbrella, with four of the eight Mahabodhissatvas seated on either side, all set amidst a mountainous and cloud-filled landscape with white flora, groups of seated figures backed by nimbuses and aureoles, and clusters of monastic buildings, with an extensive description at bottom
29 7/8 x 21 7/8 in. (76 x 55.5 cm.)
Provenance
The Van Der Wee Collection, Belgium, acquired by 23 August 1966
Literature
Tibetische Kunst, 1969, cat 57
L. and P. Van der Wee, "A Tibetan Thanka," Oriental Art, Vol. XV. no. 4, Winter 1969, pp.1-5
A. Neven, ‘Jalons et actualites des arts,’ February 1976 no.21 p.7
A. Neven, Etudes d’art Lamaique et de L’Himalaya, 1978, p.20, fig.4
L. and P. Van der Wee, A Tale of Thangkas: Living with a Collection, 1995, pp.16-19, fig.2
Himalayan Art Resources (himalayanart.org), item no.100602
Exhibited
'Tibetische Kunst, Zurich, Geneva, Lucerne and Frauenfeld, 1969
De Taal van de Thangka, Ethnographic Museum, Antwerp, 1995

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Anita Mehta
Anita Mehta

Lot Essay

The present example is a pilgrimage souvenir painting inspired by a trip to the Mahabodhi temple in Bihar, India. One of the oldest temples, erected where Gautama Buddha first achieved enlightenment, it has endured numerous repairs over the centuries. As there is no formal composition for the depiction of stupas, Tibetan artists are allowed freedom with their architectural representation. The winding Bodhi tree and monastery complexes in this example demonstrating imaginative artistry. It can be assumed, however, that the depiction here was inspired by the stupa's form at the beginning of the 19th century. The inscription on the bottom reads: "This thangka was dedicated in the Nepal era 923 (1803 AD) on the third day of the light moon half, on a Sunday in jyestha. The donors are Tuladhara Krishna Dhana, Tuladhara Dharma Laxmi and Krishna Mati, living Tunekhe Neta, Kantipura, Nepala. This thangka was dedicated to the late grandfather Purnasiddhi and grandmother, Dineswari. The religious idea for ordering the painting of the subject came to his mind while Krishna Dhana stayed in Lhasa, where he was on business and was a member of the Lhakampala. The name of the thangka is Bodha-Gaya."

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