The sacred white bull and vehicle of Shiva, Nandi serves as guardian, gatekeeper, and mount to the mighty destroyer god. In the Ramayana, it was Nandi who cursed Ravana, king of Lanka and the Ramayana’s main antagonist who kidnapped Rama’s consort Sita. As gatekeeper, Nandi refused Ravana’s request to meet with Shiva. Ravana taunted and teased Nandi in an attempt to get his way, but this only irritated the bull, causing him to curse the demon king, foretelling that Lanka would be burned to the ground by a monkey. This later came to fruition when Hanuman rescued Sita and destroyed Ravana’s kingdom.
While Nandi has been inseparable from Shiva due to being his vahana (vehicle), through this narrative Nandi is shown to also have agency within his own right. Nandi’s role as the vahana of Shiva originates very early, and his iconography is consistently connected to the destroyer god especially as a guardian of entry ways to Shaivite temples. His association with Shiva also is meant to convey a fertility aspect; early Indian culture relied heavily on dairy and as a result the status of the dairy cow was uplifted. This was also reinforced by the Indian worldview of milk being an inherently fertile substance. In this way, Nandi’s role is multifaceted, surviving as the vehicle of Shiva, being a consequential figure in the Ramayana, and having symbolic value.
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.
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.
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.
UPCOMING ASIA WEEK NEW YORK AUTUMN 2024 EXHIBITION
Pantheon of Power
September 12 – November 1, 2024 Opening Reception: Thursday, September 12, 6–8:30pm (kindly RSVP)
Private Weekend Viewings: September 14-15 & September 21-22
We are proud to present Pantheon of Power — a selection of artwork that allows viewers to step into a realm where divinity meets majesty. The formidable powers of South Asian deities and the commanding presence of architectural marvels are to be met face-to-face in this range of paintings, sculptures, prints, and photography.
From the all-encompassing energy of Krishna and the warrior strength of Durga, to the serene scenes of the sacred Jain Temples in Calcutta, these artworks on view reflect the influence these iconographies hold over the cosmos and human life.
To view our newest online catalog, please click here.
RECENTLY CLOSED EXHIBITION
Master Brushworks
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.”
To view the online exhibition catalog, click here.
To view a tour of their exhibition on Instagram, 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.
