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拍品專文
This thangka is quite remarkable as its original colour has been extremely well preserved. The workmanship is of the highest quality, the features are finely rendered and there are subtle variations of coloured threads woven to produce light and shadow nuances and depth to the skin, the robes and lotus throne that is unequalled. It is highly probable that this thangka was produced in the Imperial workshops during the reign of Emperor Yongle and presented as Imperial tribute to an individual lama or a temple in Tibet.
Compare with another thanka depicting Manjusri from the same series (see fig.1), now in the National Palace Museum, Taipei, bearing four imperial Qianlong seals, published in Tapestry in the Collection of the National Palace Museum, Gakken Co., Tokyo, 1970, no. 40 and dated to the Song dynasty. The size, composition, and lotus thrones are identical, and are from the same series. The colours in the Palace Museum example have faded and when compared to the current lot, it is possible to assume that the present textile had been preserved with limited exposure to air. It is possible to conclude that this textile had been carefully wrapped and probably sealed within the confines of a monastery.
Compare also with another very closely related kesi depicting Buddha with hands in Dhyana mudra with the thumbs forming a triangle, symbolic of triaratna, and a symbol of Buddha himself. The Buddha, placed within a similar aureole and blue surround, is seated atop a slightly different lotus base. The thangka is in the National Palace Museum Collection and was included in the National Palace Museum Special Exhibition of Tapestry, Taipei, April - June 1989, pp. 28 and 29, where it is also dated to the Song dynasty. This example it stamped with nine Qianlong seals, and four later Emperors marks suggesting that this was an important work of art in the Palace Collection
While the National Palace Museum date their two examples to the Song Dynasty, the result of Rafter Radiocarbon Laboratory, New Zealand, Radiocarbon Calibration Report no. R28067/4 suggest to a slightly later date of late 14th or early 15th century, consistent with the dating for this lot.
Compare with another thanka depicting Manjusri from the same series (see fig.1), now in the National Palace Museum, Taipei, bearing four imperial Qianlong seals, published in Tapestry in the Collection of the National Palace Museum, Gakken Co., Tokyo, 1970, no. 40 and dated to the Song dynasty. The size, composition, and lotus thrones are identical, and are from the same series. The colours in the Palace Museum example have faded and when compared to the current lot, it is possible to assume that the present textile had been preserved with limited exposure to air. It is possible to conclude that this textile had been carefully wrapped and probably sealed within the confines of a monastery.
Compare also with another very closely related kesi depicting Buddha with hands in Dhyana mudra with the thumbs forming a triangle, symbolic of triaratna, and a symbol of Buddha himself. The Buddha, placed within a similar aureole and blue surround, is seated atop a slightly different lotus base. The thangka is in the National Palace Museum Collection and was included in the National Palace Museum Special Exhibition of Tapestry, Taipei, April - June 1989, pp. 28 and 29, where it is also dated to the Song dynasty. This example it stamped with nine Qianlong seals, and four later Emperors marks suggesting that this was an important work of art in the Palace Collection
While the National Palace Museum date their two examples to the Song Dynasty, the result of Rafter Radiocarbon Laboratory, New Zealand, Radiocarbon Calibration Report no. R28067/4 suggest to a slightly later date of late 14th or early 15th century, consistent with the dating for this lot.