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拍品專文
The present panel is part of a series of either six or eight thangka, and it belongs to the same group as the example sold at Christie's Hong Kong, 1 December 2009, lot 1961 (see. fig. 1). It is interesting to note that whilst the blue and gold brocade of the dragon head, emerging from behind the seated Sakyamuni, is seen on the previously sold panel, the present panel depicts a dragon tail.
Judging from the excellent quality of the needlework in creating such a complex design and use of such a rich array of materials, it is possible to conclude that both the sold and the present thangka would have been costly productions, either commissioned by the emperor or very high officials and offered as special gifts. The brocades chosen to construct the composition with a number of woven gold patches are datable to the Ming dynasty Wanli period which suggest that these panels probably date to the latter half of the sixteenth century.
A limited number of appliqués of this type prevailed from 17th to 19th century. Cf. an example dated to the early Qing dynasty, depicting a seated Ratnasambhava rendered in a similar composition as the present thangka, but the work was constructed in Tibet, illustrated by J. E. Vollmer, Silks for Thrones and Altars Chinese Costumes and Textiles, Myrna Myers, 2003, no. 69. Also compare with two other examples dated to the 18th/19th century, illustrated op. cit., no. 68, of Tibetan construction, and no. 70, Mongolian construction.
Judging from the excellent quality of the needlework in creating such a complex design and use of such a rich array of materials, it is possible to conclude that both the sold and the present thangka would have been costly productions, either commissioned by the emperor or very high officials and offered as special gifts. The brocades chosen to construct the composition with a number of woven gold patches are datable to the Ming dynasty Wanli period which suggest that these panels probably date to the latter half of the sixteenth century.
A limited number of appliqués of this type prevailed from 17th to 19th century. Cf. an example dated to the early Qing dynasty, depicting a seated Ratnasambhava rendered in a similar composition as the present thangka, but the work was constructed in Tibet, illustrated by J. E. Vollmer, Silks for Thrones and Altars Chinese Costumes and Textiles, Myrna Myers, 2003, no. 69. Also compare with two other examples dated to the 18th/19th century, illustrated op. cit., no. 68, of Tibetan construction, and no. 70, Mongolian construction.