A GEMSTONE-INLAID AND PARCEL-GILT SILVER ‘AMITAYUS’ SHRINE, GAU, TIBET, 18TH-19TH CENTURY

拍品描述

A GEMSTONE-INLAID AND PARCEL-GILT SILVER ‘AMITAYUS’ SHRINE, GAU, TIBET, 18TH-19TH CENTURY Expert’s note Traditionally, silver in Tibet is rarer and considered more precious than gold, being spared for commissions deemed more costly, meritorious, and efficacious. Its use was largely reserved for currency and ritual vessels; consequently, silver sculpture and other devotional objects, such as the present lot, are extremely rare. The present lot further stands out from most comparable silver gau in its large size, fine modeling, and highly elaborate execution, featuring a waisted double-lotus base, thick beading, and rich parcel-gilding. Finely chased and embossed with the central figure of Buddha Amitayus, depicted seated in dhyanasana upon a double-lotus base, his hands held in dhyana mudra and resting in his lap while supporting a vessel containing the elixir of immortality. The deity is clad in a diaphanous dhoti, finely incised with auspicious shou characters, the fishtail-shaped hems detailed with scrolling tendrils, and a billowing scarf knotted across the chest that falls from the shoulders and winds gracefully around the arms. His face is rendered with a serene, meditative expression, bearing heavy-lidded, downcast eyes beneath gently arched brows, centered by a small punched urna, a slender nose, and full, bow-shaped lips, all framed by long, pendulous earlobes adorned with gilt earrings. The hair is gathered into a high chignon and secured by an elaborate gilt tiara set with brightly colored gemstone inlays, complemented by a similarly gilt and gem-set, intricately modeled necklace, together framing the visage. The head is framed by a finely incised aureole, while the entire figure is enclosed within a scrolling foliate arch bordered by broad beaded bands. The copper back incised with the mantra ‘Om Ah Hum’. Dimensions: Height 18.7 cm Gau are sacred receptacles serving many purposes in Tibetan daily life, including as a sign of social status and rank. They are most commonly constructed from metal repoussé and made according to three different sizes. The small and medium sized gaus are portable, while the largest of gaus were often placed within a home or temple. All hold sacred and auspicious objects including tsatsa which can often be seen through a viewing window. Their purpose, as stated by Rhie and Thurman, ‘served as a site where the wisdom emanation of that enlightened being could be invoked and communicated with’. See Marylin M. Rhie and Robert Thurman, A Shrine for Tibet, 2009, p. 255. Among the most significant forms of personal adornment in Tibet, charm containers held small devotional images, printed prayers and amulets, molded tablets depicting protective deities, and other relics. Traditionally worn by both men and women as protective devices to ward off malevolent forces, the gau assumed distinct forms according to gender and context of use. Women typically wore smaller examples suspended at the neck on short strands of turquoise, coral, or banded agate. Gau associated with men were generally larger and frequently conceived in the form of miniature shrines. Travelers secured them to the arm or wore them bandolier-style across the chest. Amitayus, a form of the Buddha Amitabha in Mahayana and Vajrayana Buddhism, is associated with longevity, wisdom, and immortality. He is typically depicted wearing an ornate crown and holding a vase of Amrita, the nectar of immortality. In Tibetan and Nepalese Buddhist art, Amitayus plays a central role in longevity rituals, revered for overcoming karmic obstacles. His image is widely represented in sculptures and temple decorations, symbolizing enlightenment and the aspiration for a long, spiritually fulfilled life. Literature comparison: Compare a related smaller Bhutanese parcel-gilt silver gau depicting Mahakala, dated to the 18th century, in the National Gallery of Victoria, accession number 2006.284.

图片