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Rossi & Rossi at Guardian Fine Art Asia
by Rossi & Rossi Hong Kong
Location: Booth B6, The China National Convention Centre
Artist(s): GROUP SHOW
Date: 28 May - 1 Jun 2014

Rossi & Rossi is participating in the inaugural Guardian Fine Art Asia exhibition in Beijing, China. The Gallery will showcase Himalayan, Chinese and Indian Buddhist works of art, including paintings, sculptures, and manuscript covers.

One of the exquisite paintings being shown is a majestic 13th century Tibetan thangka depicting the Buddha of the North, Amoghasiddhi (1). The large and powerful painting was conceived as part of a group of five paintings: such sets were popular in Tibet and Nepal in the thirteenth century. This painting has a symmetrical composition and is executed in a very fine line and rich palette. This is a highly valuable example of early Tibetan painting, as such 12th and 13th century paintings are rare and highly prized by private and public collectors.

A late 13th - early 14th centuries portrait of Trashipèl (2), the 12th century founder and master of the Taklung monastery in central Tibet, depicts the linage of the Kagyu tradition. Pakmotrupà, who founded his own order, is depicted in the register above Trashipèl, and is flanked by his predecessors – Vajradhara, the primordial Buddha, the Indian masters of the Kagyu tradition, Tilopa and Nâropa – as well as his successors, Marpà, Milàrèpà and Gampopa. An inscription found on the back of the painting has been dated to the early 14th or mid-14th century. The portrait may reflect the period after an influx of central-Tibetan religious objects and paintings helped introduce the central-Tibetan style of painting to the eastern region of the country.

From 14th century Tibet comes an exquisite gilt-bronze figure of Buddha Shâkyamuni (3). The unusually large statue, measuring 59cm in height, depicts the Buddha seated in meditation on a double-lotus base with beaded rim. With his left hand forming the mudra of meditation and his right hand gesturing towards the earth, the bronze statue symbolis,es the moment when Shâkyamuni attained enlightenment and called on the earth to act as his witness. The elegantly modeled sculpture and the increased ornamentation of the bronze demonstrate the influence of the Newari style of the Early Malla Period (thirteenth - late fifteenth century) on 14th-century Tibetan bronzes and it is possible that the piece was cast either by a Tibetan artists trained by Nepalese artists, or by a Nepalese artist working in Tibet.

From China, comes an outstanding 15th century gilt bronze sculpture of a bejeweled Tara (4). Cast in one piece and featuring traces of polychrome, the highly revered Tara is shown seated in the posture of “royal ease”(rājalīlāsana) on a double lotus pedestal with beaded border, a posture usually reserved for the depiction of Prince Siddhārtha and Maitreya. The front of the lotus throne is inscribed with the six-character Yongle reign mark “Da Ming Yongle Nian Shi” (大明永樂年施) .The Yongle reign mark and dating in reinforced by the delicate of the bronze, including the intricately casted back of the subject, and the rich colour of the gilding. The softness of the pleats in the garments is also typical of early fifteenth century bronzes.

-Rossi & Rossi

Image courtesy of Rossi & Rossi

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