Gandhara, 2nd/3rd century
Blue gray schist
H: 12 ½ in (31.8 cm)
Published: Himalayan Art Resources, item number 1331
Provenance: Julian Sherrier Collection, London, formed between early 1940s-1972.
Each bodhisattva with his right hand raised in Abhayamudra, dressed in a flowing sanghati and adorned with various ornaments, their faces backed by nimbuses and surrounded by attendants. The flowing robes are similar to the Roman toga of the bodhisattvas indicate the hellenistic influence on Gandhara sculptures, making it one of the most important schools of sculpture during the first three centuries of Christian era in India.
Dr. Pal in his Indian Sculptures (Vol I) characterizes Gandharan sculptures to have adept spatial dimensions, fluid postures and realistic drapery patterns.
For a schist panel comparable to the present frieze refer to the a schist panel from the British Museum (1913,1108.10) with Buddhas and Bodhisattvas figures.
Folio from an Usha-Aniruddha series: Chitralekha Vists Aniruddha in Dwarka
Garhwal, circa 1840
Opaque watercolor heightened with gold on paper
9 x 12 in. (22.9 x 30.5 cm)
Provenance: Private European collection
The present painting comes from an Usha-Aniruddha romance series in which Usha, daughter of Vana, King of the Daityas, has a dream of a wonderfully handsome prince with whom she instantly falls in love. Usha, calling upon her friend, the magical Chitraleka, speaks thus, “Listen carefully my friend. My husband is very attractive, his eyes are beautiful like a lotus, his gait is gracious like that of an elephant. If you do not produce him before me I will die” (H. Dehejia, and V. Sharma, Pahari Paintings of an Ancient Romance: the Love Story of Usha-Aniruddha, New Delhi, 2011, p.28). Chitralekha aids her in drawing portraits of all the princes until Usha recognized Aniruddha among them–the grandson of Krishna!
Here we see Chitralekha in the holy city of Dwarka, built by the divine architect Vishwakarma. The majestic palace is made of pure gold, its columns and arches adorned with glittering jewels that sparkle like the stars in the sky. Chitralekha, leaning against a golden arch, gazes upon the sleeping figure of Aniruddha, his princely crown beside him. When Chitralekha awakens the prince, he explains that he too has had a dream of a beautiful romance. Thus, he agrees to accompany Chitaleka to Usha.
Sleeping in a chamber just to the left of Aniruddha is Krishna, who has a nearly identical countenance to his grandson–the only distinguishing feature being his crown, which unlike Aniruddha’s, bears his signature peacock feathers. The male figure beside him is likely a messenger, there to alert Krisha that Aniruddha has disappeared. When Krishna finds his grandson gone, he wages war on Usha’s kingdom, and a great battle ensues.
See a similar folio from a Kangra Usha-Aniruddha series, currently in the Victoria and Albert Museum (acc. IS.11-1968). In this folio, Chitaralekha reveals her portraits to Usha and then magically flies through the sky on her way to find Aniruddha. The Garwhal and Kangra traditions are both known for their exquisite romantic charm. The present folio, however, is executed in a palette that would surely steal the eye away from a comparable pastel-colored Kangra illustration of the same subject.
Tibet, 15th century
Gilt-bronze
H: 9 ¾ in (24.8 cm)
Published:
Himalayan Art Resources, item no. 8375.
Provenance:
The collection of Holger Rosell (1917–2009), Stockholm.
The collection of the National Museum Prins Eugens Waldemarsudde, Stockholm.
Uppsala Auktionskammare, 5 December 2014, lot 1001.
The present figure represents the primordial buddha Vajradhara. His hands—crossed in front of his heart in vajrahumkara mudra (the gesture of the ‘adamantine sound’) holding a vajra/dorje and ghanta/drilbu (bell)—make him easily recognizable. His elaborate ornaments identify him as a symbolic buddha in bodhisattva appearance.
This lustrous figure of Vajradhara is finely sculpted on a double-lotus base, clad in a dhoti with a shawl draped over his shoulders, flowing down symmetrically on either side of his torso to rest on his seat. An urna of inset turquoise sits below his five-leaf tiara behind which his hair is pulled into a neat pile surmounted by a half vajra. The complexity of the woven knots within his chignon is revealed from the backside of the sculpture, as is the careful execution of each element, despite the fact that these facets are frequently hidden.
The sculpture is embellished with small turquoise and ruby or garnet cabochons set in bezels to accentuate his crown, necklace, armbands, and belt—a style of inlay more common among Nepalese bronzes than Tibetan ones. However, the square face, the straight slope of the buddha’s nose in profile, the exclusion of a garuda element from the crown, and the festooned design of Vajradhara’s prominent necklace point to a Tibetan origin.
Guler, circa 1790–1800
Opaque watercolor heightened with gold on paper
Image: 7 ⅜ x 7 in. (18.7 x 17.8 cm)
Folio: 9 ⅛ x 8 ⅜ in. (23.2 x 21.3 cm)
Provenance: Spink & Son Ltd., London, 1985
Seated on an open white marble terrace before a blossoming tree and flanking cypresses, the princess strikes a ruler’s pose. She sits in a relaxed posture while wearing a courtly turban with an elaborate sarpech, atop a grand throne. The princess lifts a piece of paan to her mouth while two maids wait on her with a betel box and a chowrie. The ducks, captured in motion as they approach a small fountain in the foreground, highlight the fleeting moment frozen by this anonymous artist. The painting is composed with a broad and vibrant color palette indicative of the Guler style.
Nepal, circa 1800
Painted wood
21 in (53.3 cm) high
Published:
P. Rawson, Tantra: Hayward Gallery, London, 1971, p. 31, no. 115.
Himalayan Art Resources, item no. 7547.
Exhibited:
Tantra, Hayward Gallery, London, Art Council of Great Britain, 30 September–7 November 1971.
Provenance:
The collection of Philip Goldman, London.
Hayward Gallery, London.
The present sculpture depicts Vajravarahi, a prominent female deity in tantric Buddhism and consort of Chakrasamvara. Although she is usually shown accompanying or embracing him as his other half, Vajravarahi alone is often considered to be a godly representation of the combined wisdom held by all buddhas. One of Vajravarahi’s eminent identifying features is the sow head, or varahi, emerging from behind her proper right ear. Tibetan Buddhists have symbolically used the sow to represent ignorance within their practices and the attached head implies the defeat of the beast, reinforcing Vajravarahi’s overarching wisdom and general triumph over ignorance.
Another one of Vajravarahi identifying features is her distinct pose, which appears as though she is frozen in movement, with her proper right leg bent towards her proper left thigh–a position that is referred to as ardhaparyanka. Beneath her lies a corpse, a Buddhist representation of the ultimate evil that has been conquered by Vajravarahi’s immense power. In addition to her decorated body and billowing drapery, Vajravarahi proudly wears an intricate headpiece with the heads of five humans. She also wears a large garland of severed heads that hangs around her dancing figure. In her raised proper right hand she holds a knife that is thought to be used to cut out irrelevant worldly concepts and leave only an acute awareness or jnana. Her proper left hand holds a small cup, usually a skull, that is said to be filled with blood or the scrambled ideas of humans. The present sculpture’s intense and violent imagery further emphasizes Vajravarahi’s vigor and power as she symbolically defeats ignorance, the fear of death, and other earthly or mundane views.
For another depiction of Vajravarahi, see Himalayan Art Resources, item no. 34057. This Vajrayogini (Vajravarahi’s form without the sow head) also displays the deity’s standard iconography and pose as well as similar billowing drapery.
An Illustration from the Bharany Ramayana Series: The Monkey Army intruding Upon a Demon’s Cave
First Generation after Nainsukh or Manaku
India, Guler
1775-1780
Opaque Watercolor with gold on paper
Folio: 9 7⁄8 x 14 inch (25.1 x 35.6 cm); Image: 7 5⁄8 x 11 5⁄8 inches (19.4 x 29.5 cm)
19th century
Agra
24 1/2 inches (62.2 cm) sq; 22 ½ inches (57 cm) high
Provenance:
Sotheby’s New York, 28 October 1991, lot 182
This is both a rare and remarkable example of pietra-dura, a decorative art form perfected during the 19th century in Agra, known for its intricate craftsmanship and as the domicile of the magnificent Taj Mahal. This art form, heralded for its precision in stone marquetry, features an opulent inlay work that mirrors the ornamental grandeur of the Taj Mahal’s interior designs. The masterful composition is laid upon a luxuriant expanse of white marble, which serves as a canvas for the symphony of semiprecious stones.
Each stone is meticulously chosen and carved for its color and lustre, creating a harmonious visual narrative across the surface. Serpentine contributes its deep green tones symbolizing tranquility, while carnelian offers a touch of warm, sunset hues, signifying protection. Red porphyry introduces regal purples, historically associated with nobility, and breccia’s richly patterned presence speaks to diversity. Granite, known for its granular texture, provides a robust foundation, complemented by the fine banding of agate.
Lapis lazuli, with its celestial blues, has been prized since antiquity for its representation of honor and royalty. Blood-stone injects a vigour with its dark, greenish hue speckled with vivid red spots, whereas onyx’s banded elegance introduces a layer of depth. Jasper, in its earthy reds, anchors the composition with its grounding force, and slate offers a subdued yet substantial backdrop with its fine-grained texture.
This table, beyond its visual allure, encapsulates a narrative of artistic ingenuity, cultural exchange, and the perpetuation of Mughal aesthetic principles through its materials and motifs. Such an object would not only serve as a functional furnishing but also as a historical artifact, embodying the zenith of craftsmanship in the Agra region during the period. The intricate floral motifs that flourish across the border are reminiscent of the Mughal’s celebrated love for nature and gardens, which were symbolically represented as paradisical in their architecture and art.
In sum, this pietra-dura piece is not only a testament to the artisan’s skill but also a conduit of cultural heritage, reflecting the historical context of its origin and the aesthetic values of the time.
Abhaya Mudra: The gesture symbolizing Peace, Protection and Benevolence
A large stucco hand of Buddha
Gandhara, 3rd century
Height: 15 inches (38 cm)
Provenance:
Japanese Collection, acquired in 1990s
Christie’s New York, Indian and Southeast Asian Art, 16 September, 2008, lot 325
Finely casted, the present sculpture of Buddha’s right hand with all five fingers extended in Abhaya mudra (gesture of fearlessness) with fine detailed creases in his palm and fingers consisting of red pigment remains overall. A symbol of reverence, the hand here stands for Buddha himself. It also brings to attention the paramount significance of Mudras in Buddhist art and in the Buddhist religion at large. Mudras are a set of hand gestures symbolizing Buddha’s various roles and states of mind. Mudras have often, if not always, been pedagogical tools used to refashion pedagogical religious Buddhist religious doctrine into comprehensible symbolic narratives.
Buddhism reached Gandhara in the third century B.C. The present sculpture from the same time-period makes it a coveted object from the origins of Gandharan Buddhism.
Pema Rinzin x Kapoor Galleries Opening Reception: Friday, July 5, 6-8:30pm (Kindly RSVP) July 5 – August 6, 2024
We are excited to present Master Brushworks, showcasing new and previously shown paintings by Brooklyn-based Tibetan artist Pema Rinzin. This will be Rinzin’s fourth solo exhibition in New York and his first with Kapoor Galleries, featuring twelve paintings rendered in ground mineral pigments, sumi ink, and gold.
The works in Rinzin’s exhibition embody self-expression and attention to detail. As the title of the exhibition suggests, the artist’s works emphasize brushwork and drawing – the foundations of Thangka painting and the first skills he developed during his artistic training. Rinzin’s work is influenced by his years living in Japan, where he was exposed to Chinese, Korean, and Japanese traditions of brushwork, especially the work of Hokusai and the Kano school. “Master brushwork means you can see depth and color in the black and white of sumi-ink art. If you pay attention to the brushwork of Tibetan art, it is the same. Drawing and brushwork are the essence of Tibetan art.”
The artist’s works depict various species of birds, marine life, stylized clouds, flowers, and gems. All of these are motifs that recur throughout the history of Thangka painting, elements of nature that represent peace, joy, and prosperity. Rinzin has taken them out of the background of traditional Thangkas and brought them into the forefront of his contemporary style. “A master artist’s style is defined by their self-expression. When I paint birds and fishes, I don’t think of them as animals, I portray them with human-like expressions. They are sentient beings like us after all, and each one has character, just like every person has a unique personality. When I paint, my emotions are reflected in their faces, in the motion of the fish and the flight of the birds.”
“My style is about freedom, flow. You can always tell a great artist by the freedom of the figures and composition in their work,” Rinzin elaborates. This conception is powerfully displayed in the Wings of Joy series. Flocks of birds in black sumi and orange cinnabar ink perch atop golden spheres; rendered in dynamic brushstrokes they seem to fly across the canvas. Rinzin also showcases his signature style in Bird Mandala (Orange). The artist adopts a pattern of concentric circles as seen in traditional mandala paintings, using various ground mineral pigments and gold. Each circle is overlaid with throngs of pheasants, cranes, owls and parrots delicately illustrated in Sumi ink.
With the importance of self-expression and the individual artist’s style in mind, Rinzin hopes that people take a look at Tibetan art with a new perspective. “Tibetan art is not just about Buddhas and bodhisattvas, it is about the artist’s self-expression. Traditional Thangka painters focused on brushing each line like it was an entire painting. They made their colors from minerals that came from the earth under their feet. My work shows that level of care, and hopefully it helps you to notice that level of care in the exceptional thangka collection of Kapoor Galleries.”
Kindly RSVP here for the opening to view these fascinating paintings by Pema Rinzin!
To view the online exhibition catalog, click here.
Summer Collection
Come by and visit our current collection of ancient and classical fine arts of India and the Himalayas. We welcome you to also check out our latest online catalogs for detailed information on each piece on offer!
To learn more and view our publications, click here.
Latest Collection and Virtual Exhibitions
View our latest collection of ancient and classical fine arts of India and the Himalayas through our online catalogs and virtual exhibitions. We offer an abundant array of fine paintings, sculptures, and works of art that can be perused in an online gallery.
In addition to the recent exhibition Religious Art: Exaltation through Expression, other notable presentations include Divine Gestures: Channels of Enlightenment, Dhanvantari’s Blessing, Incarnations of Devotion: South Asian Works of Art, Incarnations of Devotion: Tibetan and Buddhist Paintings and Bronzes, and God/Goddess, to name a few.
To learn more about our collection, have a look at our virtual catalog and for more information about our exhibitions click here.