A rare transitional Ming-Qing dynasty large hanging, 17th century is estimated to sell for £12,000 – 18,000. Photo Dreweatts & Bloomsbury Auctions

LONDON.- As London prepares for a week of Asian art auctions in May, Dreweatts & Bloomsbury Auctions are delighted to present an extremely rare 17th century transitional hanging from the Ming/Qing dynasty, which will headline their spectacular sale of Chinese Ceramics and Asian Works of Art, including an extensive selection of Tibetan art, and Asian textiles. The sale will be held in their London saleroom in the heart of Mayfair on Saturday 17th May. 

At 222cm wide and 366cm high the exceptional, and imposing, wall hanging includes a central velvet Imperial panel, and would originally have been hung in a Buddhist Tibetan temple, having been joined with panels of luxurious Imperial Chinese silk garments and other articles, sent as diplomatic gifts from China, to form the assembled hanging. 

Aristocrats at the time would donate textiles to Tibetan monasteries as acts of devotion, and it was the Buddhist monks that would have created the patchwork hanging which includes rare examples of bed hangings and bed covers produced in the 17th century for a Western market fuelled by the expansion of European trade with China. The assemblage of the hangings was done with a ritual solemnity, signifying the monks’ vow of poverty and acceptance of an ascetic life modelled after the Buddha. 

Framed with a fine brocade, the outer borders are made from further dragon panels woven using the Kesi (cut silk) technique, and parts of a late Ming period costume (Chaofu) in the Imperial colour of incense, (jin huang). This unique and exceptionally rare piece of Chinese-Tibetan history is estimated to sell for £12,000 – 18,000. [Lot 100] 

A rare transitional Ming-Qing dynasty large hanging, 17th century (detail). Photo Dreweatts & Bloomsbury Auctions

the central part complete with a panel of cut velvet depicting two large swirling dragons surrounded by a lotus border. The outer borders are made from further dragon panels woven in the Kesi technique and parts of a late Ming period costume (Chaofu) in the Imperial colour of incense, (jin huang) embroidered with dragons and mythical creatures. Finally, a fine brocade frames the whole hanging, 222cm wide and 366cm high. Estimate £12,000 – 18,000

Because of its large size, the panel would have surely been hung in a Buddhist temple in Tibet after been assembled from different panels of Chinese luxurious silk garments and other articles that were sent from China as diplomatic gifts from as early as the 13th century.

Because of its large size, the central, large velvet panel, is extremely rare; in origin, it would have probably served as hanging in the Imperial halls or temples. The squares were probably intended for a Ming dragon robe, chaofu. The borders were probably intended for 17th century bed hangings and bed covers destined for the Western market, of which rare examples survive to this date. I their original shape, these covers probably enclosed a large central medallion in the field and quarter medallion in the corners.

After reaching Tibet, many of these textiles were donated by the aristocrats as acts of devotion to monasteries and werethus completely transformed to create brilliant patchworks gracing the altars, sutra covers and mandalas. Buddhist monks usually cut off rejected cloth found in the monk’s wanderings, burial grounds or received as donation. Once the layout of the patchwork was codified, the cutting, assemblage and stitching of the piece assumed a ritual solemnity, signifying the monks’ vow of poverty and acceptance of an ascetic life modelled after the historic Buddha.

Whereas woven dragons were suggestive of the emperor’s presence, in Tibet, they were re-interpreted as majestic signs of the Buddha’s teachings. Clearly, no expense appears to have been spared to create magnificent religious works that not only reflected the splendour of the court but also reveal the magnificent array of the Chinese silk production.

For reference, see Vollmer, John (2004), Silks for Thrones and Altars: Chinese Costumes and Textiles; Linrothe, Robert (2004), Paradise and Plumage: Chinese Connections in Tibetan Arhat Painting.

A similar example blue panel, decorated with mythical figures, border framing the present panel, sold in Paris in 2004 by Myrna Meyer; another example is in the Ruth Chandler Williamson Gallery in Claremont, California; a third and last example so far known is in another private collection and illustrated in John Vollmer (1980), Five colours of the universe: symbolism in clothes and fabrics of the Ch'ing Dynasty (1644-1911), p. 42

A 14-15th century gilt bronze figure of the Shakyamuni Buddha in the bhumisparsamudra, or ‘enlightenment’, pose is the first of two extremely rare Tibetan figures sure to attract a great deal of interest. The Shakyamuni Buddha is the Buddha on whose teachings the Buddhist religion is founded and the bhumisparsamudra is said to be his hand gesture when he reached enlightenment. The figure is estimated at £4,000 – 6,000. [Lot 117] 

A gilt bronze figure of Shakyamuni Buddha, 14th-15th century. Photo Dreweatts & Bloomsbury Auctions

cast seated in dhynasana on a waisted pedestal encircled by two tiers of lotus lappets between bands of pearlised bosses, the left hand in the meditation mudra, hyanamudra, the right palm down before the right knee in the ‘earth-witnessing’ gesture, bhumisparsamudra, the ‘earth-witnessing’ gesture, his torso draped in a loose robe, falling across one arm and leaving the chest bare, the serene face with a hollowed urna above downcast eyes, the tightly curled hair piling high upon a domed ushnisha below a spherical cintamani ‘jewel’ finial, gilded overall except for the hair, which bears traces of blue pigment, 16cm high. Estimate £4,000-6,000

The second is a very unusual Sino-Tibetan 18th century cast silver and repousse’ metalwork figure of Jambhala the Tibetan wealth deity, and an emanation of Avalokitesvara, the Bodhisattva (enlightened being) of Compassion. There are five Jambhala manifestations, each with their own way of helping to relieve poverty and promote financial stability. Crafted here in his white manifestation, he is removing the suffering of poverty and sicknesses through compassion. Originally sitting atop a lion, and holding the Wealth banner in his right arm the statue is estimated to sell for £4,000 – 6,000. [Lot 118] 

A very unusual Sino-Tibetan cast silver and repousse’ figure of Jambhala, The Wealth Deity, 18th century. Photo Dreweatts & Bloomsbury Auctions

in his White Manifestation, the Emanation of Avalokitesvara, removing the suffering of poverty and sicknesses, originally sitting atop a dragon, holding the Wealth banner in his right arm, signifying the victory of Buddhism, and a katvanga staff in his left hand, 27cm high, 18th century. Estimate £4,000-6,000

A series of scroll paintings on cotton or silk, known as Thangkas, are highlighted by an extremely rare Sino-Tibetan example from the 19th century, which includes the distinguished hand impressions and seal of the Lama on the reverse. The scene depicts the multi-armed and eleven headed Avalokiteśvara flanked by Manjusri, the bodhisattva associated with transcendent wisdom, and Vajrapani, one of the first bodhisattvas of Mahayana Buddhism, and protector and guide of the Buddha. They are surrounded, on either side, by musicians and above are the chief of the Four Heavenly Kings, Vajshravana, and deities Mahakala and Yama, protective guardians of the dharma. They all set within the celestial realm of the Buddha. 

Unusual in format, the thangka is a brilliant adaptation of Indian, Chinese and Tibetan elements, and provides a powerful visualisation of the blissful state of enlightenment achieved through the cult of the Bodhisattva Avalokitesvara. It is estimated at £8,000 – 12,000. [Lot 133] 

A large and very unusual Sino-Tibetan thangka of multi-armed and eleven headed Avalokiteśvara, Sahasrabhujalokeshvara, 19th century, flanked by Manjusri and Vajrapani. Photo Dreweatts & Bloomsbury Auctions

surrounded, on either side, by musicians and Shadakshari Avalokitesvara, above Vajshravana, Mahakala and Yama, protective guardians of the dharma, below the lineage masters, all set within the wondrous Pure Land realm of Potakala, the verso consecrated with handprints and Lama seal, 100cmx75cm. Estimate £8,000-12,000

Provenance: Private UK Collection.

Unusual in format and its brilliant adaptation of Indian, Chinese and Tibetan elements, the thangka provides a powerful visualisation of the blissful state of enlightenment achieved through the cult of the Bodhisattva Avalokitesvara. 

Venerated in Indian Buddhism as embodiment of the Compassion of the Buddha, Avalokitesvara was incorporated in beliefs concerning the rebirth in the Pure Land of the Amithaba Buddha from at least the 1st-2nd century AD. In this context, the deity effected the spiritual rebirth of the devotees in the blissful land, the ideal atmosphere leading to peaceful nurturing and enlightenment. As Pure Land Buddhism grew in popularity, so did the prominence of Avalokitesvara as the supreme saviour of all beings and separate cults dedicated to the deity begun to surface, also spreading in other parts of Asia.

In Tibet, Avalokitesvara reached a position of tremendous importance. Penetrating the region during the 7th century, he was credited with the creation of the Universe, the Hindu gods and even the ruler of Tibet: several kings and religious masters, in fact, considered themselves the emanation of the deity. The multi-headed and armed form of Avalokitesvara, in particular, became emblematic of Tibet and widely employed in tantric visualisations aimed at bringing about the experiential realisation of the deity's teachings. According to the Karandavyuha Sutra and the Flower Garland Sutra, both compiled between the 5th and the 6th centuries AD, the eleven towering heads crowning the head of the deity designated the ten steps towards enlightenment, culminating with the visualisation of the Amithaba Buddha; the fan of arms holding different implements signified the measureless skilful means to save all suffering beings. In conjunction with Manjusri and Vajrapani, seated to his right and left, Avalokitesvara formed the Three Families of Kriya branch of Esoteric Buddhism, embodying, respectively, the wisdom, compassion and power of all Buddhas. Surrounding the main deity are celestial musicians, the Shadaksharī emanation of Avalokitesvara, bringing a better understanding of the deity to humankind, the Hindu gods Indra, presiding over the lesser heavens where ordinary mortals engaged in their endless cycles of birth and death, and Brahma, protector of the historical Buddha. To the lower register are three wrathful protective guardians, aiding the main deity in his liberative work of striking through the selfish grasping, petty dislikes and clouds of confusion of those who may be awakened to their own spiritual path: Vajshravana, holding the banner of Wealth, protects the Dharma; Mahakala, sundering the pachyderm of ignorance, converts all the impediments to enlightenment, and Yama, guards the spiritual practice.

The lavishly decorated pavilions, lotus ponds, gems and other wondrous adornments, surrounding the deities, present close similarities with the features making up Amithaba's Perfected Realm, which are meticulously described in the Amithaba Sutra, composed during the first century AD. Complementing the setting, the vaporous, lobed clouds, rounded mountains, peony-like lotuses and flowering, fruit-laden trees, were all derived from the Chinese stylistic conventions. Adding naturalism to the composition, these elements were typically employed in the production of the Menri School of Central Tibet. It is possible, therefore, that the painting may have been a product of the same school, and an interesting result of the fusion of Chinese aesthetic idioms into Tibetan pictorial tradition.

For reference see Jackson, David (2012), The place of provenance: regional styles in Tibetan painting; Mack, Karen (2003), The Amida Sutra, Kyoka Kenkyu, (14), 1-10; Neville, Tove (1999), Eleven-Headed Avalokitesvara: Chenresigs, Kuan-Yin Or Kannon Bodhisattva: Its Origin And Iconography.

The charming specimens included in this section, are a wonderful visual representation of the basics of the Chinese decorative system, which involves the use of auspicious images, intended to act and become alive for the benefit of the wearer. These colourful garments, therefore, are an important resource to record popular contemporary beliefs and preoccupations, which official historical records often failed to document.

Notable amongst the collection are a collection of four 19th century Chinese silk embroidered shoes, shaped as fish, dragons, cats and Buddhist dogs, [Lot 86] and a collection of five festive hats for children from the late 19th and early 20th century, shaped as dragons, symbolising potent and auspicious powers, and butterflies, symbolising beauty, elegance and long life. [Lot 91] Both lots are estimated at £200-300.

The sale is on view at Bloomsbury House, Maddox Street, London, in the week prior to the sale. The auction will take place in the same venue. Online bidding with no additional premium will be available via www.dreweatts.com.