A THANGKA OF CHATURBHUJA AVALOKITESHVARA, TIBET, 18TH-19TH CENTURY
Distemper on cloth. Seated on a lotus pedestal in dhyanasana with his primary hands holding a jewel at his chest while his secondary hands hold a lotus blossom and mala beads. Clothed in a blue and red dhoti and wearing a billowing green scarf. His serene face with sinuously lidded eyes below elegantly arched brows, a broad nose, and full lips forming a calm smile. His hair arranged in a high chignon topped by the red-skinned head of the Buddha Amitabha behind the five-leaf tiara, backed by a radiating mandorla and green halo.


Provenance:
From the collection of Dr. Wou Kiuan. Wou Lien-Pai Museum, coll. no. P.46. 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 minor wear, minimal soiling, creasing, few small losses.

Dimensions: Image size 44 x 29.5 cm, Size incl. frame 65.9 x 51.9 cm

The lower register with Manjusri seated in dhyanasana on a lotus throne, wielding his sword with his right hand and holding a lotus in his left coming to full bloom at the shoulder supporting a book, and Mahakala striding in alidhasana, wearing a tiger skin, engulfed in flames. All within a verdant landscape with fruiting leafy peach branches below the sun and moon.


Literature comparison:

Compare a related thangka of Chaturbhuja Avalokiteshvara, dated to the 19th century, in the Tibet House Museum in New Delhi, illustrated on Himalayan Art Resources, item no. 72057.


Auction result comparison:

Type: Related
Auction: Christie’s New York, 14 September 2010, lot 154
Price: USD 6,250 or approx.
EUR 8,000
converted and adjusted for inflation at the time of writing
Description: A thangka of Chaturbhuja Avalokiteshvara, central Tibet, Menri style, 19th century
Expert remark: Compare the closely related subject and manner of painting. Note the size (65.5 x 44.5 cm).


Auction result comparison:

Type: Related
Auction: Christie’s New York, 18 September 2013, lot 277
Price: USD 11,875 or approx.
EUR 14,500
converted and adjusted for inflation at the time of writing
Description: A painting of Chaturbhuja Avalokiteshvara, Tibet, 18th century
Expert remark: Compare the closely related subject and manner of painting. Note the different mandorla and the size (64.1 x 43.2 cm).




西藏十八至十九世紀四臂觀音

布面膠畫。本唐卡中的主尊為四臂觀音，雙跏趺坐於蓮花月輪上，身色潔白如月。黑髮結頂髻，頭戴花蔓寶冠，佩戴珠寶，面相豐滿，柳葉細眉微微彎曲，雙目微閉，自然下視，小口緊閉，表情呈慈悲像。一頭四臂，其中兩手持摩尼寶珠於胸前結合掌印，另外兩手之右手持水晶念珠。左手拈白蓮花。觀音下方有文殊菩薩與大黑天。文殊菩薩坐蓮花座，右手執劍，左手持蓮花莖，在肩部盛開，托著書；大黑天身披虎皮，邁開大步，火焰光背。周圍祥花環繞，背後福山壽海，祥雲環繞，佛光照耀。


來源：
吳權博士收藏；吳蓮伯美術館，館藏編號 P.46。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，有輕微磨損、少量污染、摺痕和缺損。

尺寸：畫面 44 x 29.5 厘米，總65.9 x 51.9 厘米


文獻比較：

比較一件相近的十九世紀四臂觀音唐卡，收藏於新德里Tibet House博物館，見Himalayan Art Resources，編號72057。


拍賣結果比較：

形制：相近
拍賣：紐約佳士得，2010年9月14日，lot 154
價格：USD 6,250（相當於今日
EUR 8,000
）
描述：十九世紀西藏中期四臂觀音唐卡
專家評論：比較非常相近的主題和繪畫風格。請注意尺寸(65.5 x 44.5厘米)。


拍賣結果比較：

形制：相近
拍賣：紐約佳士得，2013年9月18日，lot 277
價格：USD 11,875（相當於今日
EUR 14,500
）
描述：A painting of Chaturbhuja Avalokiteshvara，Tibet，18th century
專家評論：比較非常相近的主題和繪畫風格。請注意不同的光背和尺寸(64.1 x 43.2厘米)。