A LARGE (86 x 188 CM) PAINTED WOOD WALL PANEL DEPICTING LHA CHENPO (SHIVA MAHADEVA) AND CONSORT, TIBET, 18TH-19TH CENTURY

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A LARGE (86 x 188 CM) PAINTED WOOD WALL PANEL DEPICTING LHA CHENPO (SHIVA MAHADEVA) AND CONSORT, TIBET, 18TH-19TH CENTURY Gold and distemper on wood. Finely painted in radiant colors with Shiva Mahadeva striding in alidhasana, his principal arms embracing Uma Devi and his secondary hands raising ritual hooks. His wrathful, three-eyed face bears an open, fanged mouth beneath a high chignon and foliate tiara. A billowing shawl frames Mahadeva, while Uma wears a dark blue garment and matching tiara. The couple is encircled by a flaming aureole amid swirling clouds and fruit-laden peach branches. At the left, Sarasvati sits upon a lotus playing the vina, balanced by the seven-eyed White Tara at the right, both pale-skinned, richly bejeweled, and framed by circular nimbuses. Above, two religious masters in Tibetan monastic robes sit upon clouds. Below, turbulent waters wind through verdant meadows dotted with deer, receding towards towering, cloud-wreathed mountains. Dimensions: Size 85.7 x 188.2 cm (incl. frame) Set within a finely carved wood frame painted with leafy floral sprays. This wood panel’s rare horizontal format follows compositions commonly painted on walls in monastic chapels and was popular within the Gelug order since at least the 18th century. The format was possibly inspired by the imperial Qing workshop, producing examples which are held in the Palace Museum, Beijing (Wang [ed.], Zangchuan Fojiao Tangka, Hong Kong, 2006, pp. 262-285, nos. 240-263). Tibetan monastery wall murals like the present lot are vibrant expressions of Buddhist philosophy and artistry. These large frescoes often depict deities, Bodhisattvas, mandalas, and stories from the Buddha’s life, serving both spiritual and educational purposes. Created with natural pigments, they showcase meticulous craftsmanship and a blend of traditional Tibetan styles with influences from Indian, Chinese, and Nepalese art. The murals are characterized by symmetrical compositions, intricate patterns, and vivid colors, transforming monastery walls into meditative and sacred spaces. These paintings highlight the skill and devotion of Tibetan artists while embodying the spiritual essence of the monastic environment. Lha Chenpo, ‘the Great God’, is the Tibetan Buddhist manifestation of Shiva, or Mahadeva, revered in this context as an emanation of Avalokiteshvara, the bodhisattva of compassion. His practice as an independent meditational deity is distinctive to the Nyingma school, where it derives from terma, or ‘revealed treasure’ teachings, and was particularly promoted within the Mindrolling tradition. Appearing in several forms according to these revelations, Lha Chenpo exemplifies the assimilation of Indian divinities into Tibetan Buddhist religious practice, assuming an identity that unites the great Hindu god with the compassionate activity of Avalokiteshvara (see Jeff Watt, “Buddhist Worldly Protector: Lha Chenpo Main Page”, Himalayan Art Resources, last updated February 2020). Literature comparison: Compare a related painting depicting Lha Chenpo and consort, Eastern Tibet, dated 18th century, 35.5 x 53.3 cm, illustrated on Himalayan Art Resources, item no. 618. Auction result comparison: Type: Related Auction: Galerie Zacke Vienna, 7 March 2025, lot 104 Price: EUR 7,150 Expert remark: Compare the related manner of painting. Note the size (183 x 119 cm) and different format.

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