拍品描述:Himalayan Art Resources item no. 24669. HAR编号24669 The inscription on the front of the painting reads:(g.yon drug pa bar a sdo tsa bsod gnyong len / “6th [from] the left. Piṇḍolabharadvāja”) The inscription on the reverse reads:(g.yon drug pa bha ra dhwa dza bsod snyoms len / “6th [from] the left. Piṇḍolabharadvāja”) For further information on the condition of this lot please contact Alexandra.Farahnik@sothebys.com Schoettle, Stuttgart, 1969. Collection of Dr. Hans Werner Riedel and Dr. Ralf Dieter Loher-Riedel. Detlef Ingo Lauf, Tibetica 3, Schoettle, Stuttgart, 1969, cat. no. 30. The arhat Pindola Bharadvaja is dressed in elegant silk robes and seated on a rocky outcrop spread with a richly patterned textile. A slippered foot rests on a ledge below with his left leg drawn up supporting the weight of the alms bowl in his left hand. A baton in his right hand points to the text of an open sutra placed on an outcrop together with a silk sutra cover, a tripod censer and a red covered box. An attendant stands to the side holding a fly whisk, and a pair of pheasants engage in the foreground. Gnarled trees and bamboo grow in blue and green landscape, with mountains and a waterfall in the distance. A Tibetan inscription records the arhat’s name, Pindola Bharadvaja, and the position of the painting in a set, sixth from the left. The composition of the painting is derived from Yongle period (1403-1424) prototypes such as the Cudapanthaka in a private collection, see Marsha Weidner, ed., Latter Days of the Law: Images of Chinese Buddhism 850-1850, 1994, pl. 10, cat. 21, and the Vanavasa in the Robert Rosenkranz Collection, in James C. Y. Watt and Denise Patry Leidy, Defining Yongle: Imperial Art in Early Fifteenth-Century China, 2005, pl. 37, in which the arhats appear in intimate and richly detailed settings of classical blue-green landscape and trees, with attendants and mythical animals. The style had a seminal influence on the depiction of arhats in Tibetan and Sino-Tibetan painting. While the Yongle examples are on silk, this painting has a cotton support that might indicate a Tibetan provenance. Indeed the script of the opened sutra is Tibetan, although the book is in the concertina format favored in China. The masterful execution of classical Chinese detail in the blue and green landscape with delicate gold highlights, the gnarled trees, luxurious patterned silks, and subtle plumage of the male and female pheasants, perhaps suggests the work of a Chinese artist. The sensitive rendering of Pindola’s face, which is closer in style to the Yongle originals than many of the Tibetan copies considered to be late fifteenth, or perhaps sixteenth century, ibid, pls. 40, 41, and Rob Linrothe, Paradise and Plumage: Chinese Connections in Tibetan Arhat Painting, 2004, pl. 7, suggests a fifteenth century date for this fine and early arhat painting. 宾度罗跋罗堕罗汉身披长袍，坐于石上，石上坐垫纹饰精美，藏文题款记载此为宾度罗跋罗堕罗汉，并标明此画是一组画当中，从左至右第六幅。 本画构图源自明永乐年雏本，一例刻划芭蕉罗汉，出自Robert Rosenkranz收藏，载于 James C. Y. Watt 及 Denise Patry Leidy，《Defining Yongle: Imperial Art in Early Fifteenth-Century China》， 2005年，图版37，画中罗汉背后景物属传统书画青绿山水，并画树木、侍从及灵兽。这种风格对西藏罗汉画像发展有着重要影响。永乐年的作例为绢本，本画则以棉质物料托底，或可凭此推断本作源自西藏，而经文为藏文，折页书册则流行于中土。 本画青绿山水属于传统书画技法，配以金彩勾勒，从树木形态、丝绸华丽纹饰，以及鸟儿羽毛含蓄色调来看，本画有可能出自中国画师之手。与十五世纪末或十六世纪西藏复制本比较，本画芭蕉罗汉面容刻划笔法细腻，更接近永乐年作例，前述出处，图版40及41。根据Rob Linrothe，《Paradise and Plumage: Chinese Connections in Tibetan Arhat Painting》，2004年，图版7，本画或可断代十五世纪。