11th Oct, 2023 11:00
THREE-DAY AUCTION - Fine Chinese Art / 中國藝術集珍 / Buddhism & Hinduism
198
A THANGKA DEPICTING RUDRA CHAKRIN, THE LAST KULIKA KING OF SHAMBHALA, TIBET, 18TH-19TH CENTURY
西藏十八至十九世紀香巴拉王魯德拉查克林唐卡
Sold for €3,900
including Buyer's Premium
Published: Roderick Whitfield (editor), Classic Chinese Art: Selected Catalogue of the Paintings and Calligraphy from the Wou Lien-Pai Museum, Surrey, 2011, page 148, no. 46.
The heavily armored red-skinned king with wrathful expression, protected by a parasol above and engulfed in dark flames, riding a dark blue horse and driving his lance through the chest of an enemy general who has fallen from his slain horse lying beside him. The upper register with a central image of Buddha Shakyamuni flanked by a lama of the Gelugpa order and the Future Buddha Maitreya, the lower register Green Tara surrounded by two further warriors as well as offerings, all within a verdant landscape.
Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. P.43. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou’s years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou’s drive to collect was a burning desire to preserve the relics of China’s rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a ‘must see’ destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China’s glorious history.
Condition: Good condition with some old wear, light soiling, and minor creasing.
Dimensions: Image size 38 x 27.2 cm, Size incl. frame 65.8 x 51.7 cm
Please click here to read the full description
Distemper and gold on cloth, with a silk brocade frame.
According to Roderick Whitfield, “The main figure represents Rudracakrin, the 25th (or, in some lists, 32nd) and last Kulika King of Shambhala. He is an emanation of the Bodhisattva Manjushri, defeating the four invading armies of the Mlecchas or barbarians, led by Krinmati, King of Delhi.” (See Classic Chinese Art: Selected Catalogue of the Paintings and Calligraphy from the Wou Lien-Pai Museum, Surrey, 2011, page 148.)
In the Tibetan Buddhist tradition, the hidden kingdom of Shambhala, believed to be north of the Tibetan plateau, is surrounded by an impassable mountain range. Shambhala is ruled by the future Buddha Maitreya. The Shambhala narrative is found in the Kalachakra tantra, a text of the group of the Anuttarayoga Tantras. Thirty-two Kings of Shambhala reside in the mythical kingdom. The first notable king, King Suchandra is reported to have requested teaching from the Buddha that would allow him to practice the dharma without renouncing his worldly enjoyments and responsibilities. In response to this request, it is said the Buddha gave him the first Kalachakra root tantra. By practicing the Kalachakra, the whole of Shambhala eventually became an enlightened society. The most recent twenty-five of the thirty-two Kings of Shambhala are known as Kalki kings, meaning ‘Holder of the Castes’. The Kalki are holders of the Kalachakra (Wheel of Time), which are the teachings of Buddha Shakyamuni passed down from the original seven Dharmarajas of Shambhala. The final king prophesied in the Kalachakra, Rudra Chakri, is further prophesied to appear to all humanity in 2424, and to establish a planet-wide Golden Age subsequent to his defeat of degenerate world rulers.
Auction result comparison:
Type: Related
Auction: Sotheby’s New York, 21 March 2019, lot 947
Price: USD 30,000 or approx. EUR 33,000 converted and adjusted for inflation at the time of writing
Description: A thangka depicting a king of Shambhala (Manjushrikirti), Tibet, Narthan Style, 18th/19th century
Expert remark: Compare the related subject, albeit painted in a different style. Note the size (71 x 44 cm).
点此阅读中文翻译 (Chinese Translation)
西藏十八至十九世紀香巴拉王魯德拉查克林唐卡
布面膠畫描金，緞面裝幀。身披重甲的魯德拉查克林王，紅身，呈忿怒像，頭頂寶蓋，周身黑色火焰圍繞，騎著深藍色的戰馬，長槍刺穿了身旁一名從馬背上摔下來的敵方將領的胸口。上層界面中央為釋迦牟尼佛像，兩側為格魯派喇嘛和未來佛彌勒，下層界面為綠度母，周圍有另外兩位武士和供品，四周山水景觀。
出版：Roderick Whitfield (editor)，Classic Chinese Art: Selected Catalogue of the Paintings and Calligraphy from the Wou Lien-Pai Museum，薩里郡，2011年年，148頁，圖46。
來源：吳權博士收藏；吳蓮伯美術館，館藏編號P.43。吳權(1910-1997)博士 曾是一位中國外交家以及知名中國藝術收藏家。他的父親吳蓮伯 (1873-1944)先生曾是二十世紀初中國重要政治人物，因在民國動蕩歲月中擔任國會議員及議長而聞名。1952 年，吳博士在外交領域走上了輝煌之路，直到他退休後定居倫敦，並將餘生奉獻給了對中國藝術的研究。毫無疑問，吳權博士多年的收藏，與大量中國藝術珍品現身倫敦藝術市場上時間點相呼應，這無疑是幸運的。從 1950 年代中期到 1960 年代後期，他收集了 1,000 多件藏品，涵蓋了中國藝術的每一個門類。吳博士之所以收藏，其原因主要是爲保護散落歐洲各地的中國文物與推廣中國藝術與文化。尚不清楚吳博士何時想到創建一個美術館來歸置他的收藏的，但在 1968 年，他打開了以他父親的名字命名的 吳蓮伯美術館的大門。多年來，美術館已成為收藏家、學者和來訪政要的必經之地，而吳博士總是很樂意給參觀者介紹美術館，講述中國光輝歷史的故事。
品相：狀況良好，有一些磨損、輕微髒污和摺痕。
尺寸：畫面38 x 27.2 厘米，總 65.8 x 51.7 厘米
根據Roderick Whitfield，“主要人物代表香巴拉第 25 任國王（也有寫爲為第 32 任）、最後一位庫利卡國王魯德拉查克林。他是文殊菩薩的化身，擊敗了德里國王克林瑪提率領的四支入侵的蠻族軍隊。”見 《Classic Chinese Art: Selected Catalogue of the Paintings and Calligraphy from the Wou Lien-Pai Museum》，薩里郡，2011年，148頁)。Roderick Whitfield et al.，《Classical Chinese Art - Selected Catalogue of the Paintings and Calligraphy》，吳蓮伯美術館，香港，2011年年，16-17頁，Roderick Whitfield的文章 《Paintings of Distinction from the Wou Lien-Pai Museum of Chinese Art》，109頁，圖 6 (請注意，錯誤尺寸136.5 x 68 厘米).
在藏傳佛教中，香巴拉王國位於青藏高原以北，周圍環繞著無法逾越的山脈。香巴拉由未來佛彌勒統治。香巴拉的敘述見於時輪金剛密宗，這是無上瑜伽的一部。香巴拉的三十二位國王居住在這里。據傳，第一位國王蘇佔陀羅國王曾向佛陀請求教誨，讓他能夠在不放棄世俗享樂和責任的情況下修行佛法。據說佛陀應此請求，賜予他第一部時輪金剛密宗。通過修持時輪金剛法，整個香巴拉最終成為了一個開悟的社會。香巴拉三十二位國王中最近的二十五位被稱為卡爾基國王。救度王是時輪金剛的持有者，時輪金剛是釋迦牟尼佛從香巴拉最初的七位法王傳承下來的教法。時輪金剛中預言的最後一位國王魯德拉查克林，將在 2424 年向全人類顯現，並在擊敗墮落的世界統治者後建立一個全球性的黃金時代。
拍賣比較：
形制：相近
拍賣：紐約蘇富比，2019年3月21日，lot 947
價格：USD 30,000（相當今日EUR 33,000）
描述：十八至十九世紀西藏香巴拉國王唐卡
專家註釋：比較相近的主題，但不同的繪畫風格。請注意尺寸 (71 x 44 厘米)。
Published: Roderick Whitfield (editor), Classic Chinese Art: Selected Catalogue of the Paintings and Calligraphy from the Wou Lien-Pai Museum, Surrey, 2011, page 148, no. 46.
The heavily armored red-skinned king with wrathful expression, protected by a parasol above and engulfed in dark flames, riding a dark blue horse and driving his lance through the chest of an enemy general who has fallen from his slain horse lying beside him. The upper register with a central image of Buddha Shakyamuni flanked by a lama of the Gelugpa order and the Future Buddha Maitreya, the lower register Green Tara surrounded by two further warriors as well as offerings, all within a verdant landscape.
Provenance: From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. P.43. Dr. Wou Kiuan (1910-1997) was a Chinese diplomat and noted scholar of Chinese art. His father, Wou Lien-Pai (1873-1944), was one the leading political figures of early 20th century China, remembered for his role as speaker and leader of parliament during the turbulent years of the Republican era. Dr. Wou himself embarked on an illustrious career in diplomacy until his retirement in 1952, when he settled in London and devoted the rest of his life to the study of Chinese art. It was no doubt fortuitous that Dr. Wou’s years of collecting coincided with an abundant availability of exceptional Chinese art on the London market. From the mid-1950s to the late 1960s he was able to form a collection of well over 1,000 works that together represented virtually every category of Chinese art. At the heart of Dr. Wou’s drive to collect was a burning desire to preserve the relics of China’s rich historical past scattered across Europe, and to promote Chinese art and culture. It is unclear when Dr. Wou conceived of the idea to create a place to house his collection, but in 1968 he opened the doors to the Wou Lien-Pai Museum, named in honor of his father. Over the years the Museum became a ‘must see’ destination for collectors, academics, and visiting dignitaries, and Dr. Wou would delight in leading his visitors through the galleries, recounting stories of China’s glorious history.
Condition: Good condition with some old wear, light soiling, and minor creasing.
Dimensions: Image size 38 x 27.2 cm, Size incl. frame 65.8 x 51.7 cm
Please click here to read the full description
Distemper and gold on cloth, with a silk brocade frame.
According to Roderick Whitfield, “The main figure represents Rudracakrin, the 25th (or, in some lists, 32nd) and last Kulika King of Shambhala. He is an emanation of the Bodhisattva Manjushri, defeating the four invading armies of the Mlecchas or barbarians, led by Krinmati, King of Delhi.” (See Classic Chinese Art: Selected Catalogue of the Paintings and Calligraphy from the Wou Lien-Pai Museum, Surrey, 2011, page 148.)
In the Tibetan Buddhist tradition, the hidden kingdom of Shambhala, believed to be north of the Tibetan plateau, is surrounded by an impassable mountain range. Shambhala is ruled by the future Buddha Maitreya. The Shambhala narrative is found in the Kalachakra tantra, a text of the group of the Anuttarayoga Tantras. Thirty-two Kings of Shambhala reside in the mythical kingdom. The first notable king, King Suchandra is reported to have requested teaching from the Buddha that would allow him to practice the dharma without renouncing his worldly enjoyments and responsibilities. In response to this request, it is said the Buddha gave him the first Kalachakra root tantra. By practicing the Kalachakra, the whole of Shambhala eventually became an enlightened society. The most recent twenty-five of the thirty-two Kings of Shambhala are known as Kalki kings, meaning ‘Holder of the Castes’. The Kalki are holders of the Kalachakra (Wheel of Time), which are the teachings of Buddha Shakyamuni passed down from the original seven Dharmarajas of Shambhala. The final king prophesied in the Kalachakra, Rudra Chakri, is further prophesied to appear to all humanity in 2424, and to establish a planet-wide Golden Age subsequent to his defeat of degenerate world rulers.
Auction result comparison:
Type: Related
Auction: Sotheby’s New York, 21 March 2019, lot 947
Price: USD 30,000 or approx. EUR 33,000 converted and adjusted for inflation at the time of writing
Description: A thangka depicting a king of Shambhala (Manjushrikirti), Tibet, Narthan Style, 18th/19th century
Expert remark: Compare the related subject, albeit painted in a different style. Note the size (71 x 44 cm).
点此阅读中文翻译 (Chinese Translation)
西藏十八至十九世紀香巴拉王魯德拉查克林唐卡
布面膠畫描金，緞面裝幀。身披重甲的魯德拉查克林王，紅身，呈忿怒像，頭頂寶蓋，周身黑色火焰圍繞，騎著深藍色的戰馬，長槍刺穿了身旁一名從馬背上摔下來的敵方將領的胸口。上層界面中央為釋迦牟尼佛像，兩側為格魯派喇嘛和未來佛彌勒，下層界面為綠度母，周圍有另外兩位武士和供品，四周山水景觀。
出版：Roderick Whitfield (editor)，Classic Chinese Art: Selected Catalogue of the Paintings and Calligraphy from the Wou Lien-Pai Museum，薩里郡，2011年年，148頁，圖46。
來源：吳權博士收藏；吳蓮伯美術館，館藏編號P.43。吳權(1910-1997)博士 曾是一位中國外交家以及知名中國藝術收藏家。他的父親吳蓮伯 (1873-1944)先生曾是二十世紀初中國重要政治人物，因在民國動蕩歲月中擔任國會議員及議長而聞名。1952 年，吳博士在外交領域走上了輝煌之路，直到他退休後定居倫敦，並將餘生奉獻給了對中國藝術的研究。毫無疑問，吳權博士多年的收藏，與大量中國藝術珍品現身倫敦藝術市場上時間點相呼應，這無疑是幸運的。從 1950 年代中期到 1960 年代後期，他收集了 1,000 多件藏品，涵蓋了中國藝術的每一個門類。吳博士之所以收藏，其原因主要是爲保護散落歐洲各地的中國文物與推廣中國藝術與文化。尚不清楚吳博士何時想到創建一個美術館來歸置他的收藏的，但在 1968 年，他打開了以他父親的名字命名的 吳蓮伯美術館的大門。多年來，美術館已成為收藏家、學者和來訪政要的必經之地，而吳博士總是很樂意給參觀者介紹美術館，講述中國光輝歷史的故事。
品相：狀況良好，有一些磨損、輕微髒污和摺痕。
尺寸：畫面38 x 27.2 厘米，總 65.8 x 51.7 厘米
根據Roderick Whitfield，“主要人物代表香巴拉第 25 任國王（也有寫爲為第 32 任）、最後一位庫利卡國王魯德拉查克林。他是文殊菩薩的化身，擊敗了德里國王克林瑪提率領的四支入侵的蠻族軍隊。”見 《Classic Chinese Art: Selected Catalogue of the Paintings and Calligraphy from the Wou Lien-Pai Museum》，薩里郡，2011年，148頁)。Roderick Whitfield et al.，《Classical Chinese Art - Selected Catalogue of the Paintings and Calligraphy》，吳蓮伯美術館，香港，2011年年，16-17頁，Roderick Whitfield的文章 《Paintings of Distinction from the Wou Lien-Pai Museum of Chinese Art》，109頁，圖 6 (請注意，錯誤尺寸136.5 x 68 厘米).
在藏傳佛教中，香巴拉王國位於青藏高原以北，周圍環繞著無法逾越的山脈。香巴拉由未來佛彌勒統治。香巴拉的敘述見於時輪金剛密宗，這是無上瑜伽的一部。香巴拉的三十二位國王居住在這里。據傳，第一位國王蘇佔陀羅國王曾向佛陀請求教誨，讓他能夠在不放棄世俗享樂和責任的情況下修行佛法。據說佛陀應此請求，賜予他第一部時輪金剛密宗。通過修持時輪金剛法，整個香巴拉最終成為了一個開悟的社會。香巴拉三十二位國王中最近的二十五位被稱為卡爾基國王。救度王是時輪金剛的持有者，時輪金剛是釋迦牟尼佛從香巴拉最初的七位法王傳承下來的教法。時輪金剛中預言的最後一位國王魯德拉查克林，將在 2424 年向全人類顯現，並在擊敗墮落的世界統治者後建立一個全球性的黃金時代。
拍賣比較：
形制：相近
拍賣：紐約蘇富比，2019年3月21日，lot 947
價格：USD 30,000（相當今日EUR 33,000）
描述：十八至十九世紀西藏香巴拉國王唐卡
專家註釋：比較相近的主題，但不同的繪畫風格。請注意尺寸 (71 x 44 厘米)。
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