The art of Tibetan Buddhism frequently incorporates imagery related to death and rebirth, serving as a reminder of life’s transience and the necessity for diligent practice. This characteristic deeply fascinates the collector Triay. The exquisite pieces in the “Triay Collection of Himalayan Art” auction, while seemingly bizarre, possess an alluring quality and offer collectors a rare opportunity to delve into Buddhist legends and practices.
Several highlighted lots feature the Citipati, Buddhist deities often depicted as skeletal figures, either single or paired. When presented as a pair, they resemble a male and female duo, their limbs intertwined in a graceful, harmonious dance. Notable pieces include: two sets of 19th-century Mongolian satin-embroidered Citipati dance costumes and boots, each paired with a metal mask inlaid with silver (Lot 167, Estimate: €80,000 – €120,000), and a 19th-century Mongolian painted satin-embroidered Citipati dance costume and boots paired with a painted paper mask (Lot 162, Estimate: €40,000 – €60,000). These figures are considered embodiments of deities, and every detail of their attire is meticulously crafted. The Citipati wear five-skull crowns and parasols, their wide-eyed and gaping mouths accentuating their terrifying appearance.
Edward Wilkinson, Global Head of Indian, Himalayan & Southeast Asian Art at Bonhams, has selected five exceptional pieces from the auction to share:
Gilt-Copper and Steel Hammered Protective Mirror with Inlays (19th Century)
Protective mirrors are used by designated oracles for tantric divination. Oracles enter trance states to predict future events. The precise rituals and associated imagery remain somewhat obscure, likely originating from early Central Asian indigenous practices. By the 17th century, the practice gained prominence with the support of the government at the time for the Nechung Oracle.
At the center of the mirror is the Sanskrit seed syllable “hrih” of Amitabha, invoking the Buddha of Infinite Light. The finely detailed mirror, crafted with a hammered and inlaid technique, features captivating coral and turquoise decorations representing the Four Noble Truths, perfectly complementing its refined quality. This mirror has been featured in several significant exhibitions and publications over the past 30 years, making it a true masterpiece of Himalayan religious art.
Polychrome Painted Clay and Wood Yamantaka Sculpture (18th/19th Century)
The Tibetan Buddhist pantheon is rich and complex. This polychrome painted clay and wood Yamantaka sculpture displays remarkable detail.
When Yama, the lord of death, ravaged Tibet, people turned to Manjushri for help. Manjushri manifested as Yamantaka (the conqueror of death, also known as Vajrabhairava), subduing Yama and making him lord of hell. Yamantaka is the wrathful form of Manjushri, also known as the “Sharp Protector”.
Gilt-Copper and Silver Inlaid Staff-mounted Hayagriva Sculpture (17th Century)
This exquisitely crafted gilt-copper sculpture depicts Hayagriva, a meditational deity known as Black Hayagriva, which is exceptionally rare in Tibetan sculpture.
The figure is identified by the horse head emerging from behind his crown and his layered silk robes. Vivid and deeply structured, it was likely placed within a gau box or in a personal or temple shrine for worship.
Compared to Lot 133, the Yamantaka sculpture, this Hayagriva figure is more compact in structure. Despite its smaller size, it retains all the intricate details. The artist ingeniously crafted the handles of his weapons in silver and inlaid them with dazzling turquoise. The reverse of the sculpture is equally refined, with a gilded-copper plate sealing the base, accentuating the sacred relics contained within.
Painted Paper and Silver Inlaid Wrathful Deity Mask (19th Century)
This mask is among the most powerful and dramatic Tibetan dance masks to ever appear at auction. It showcases the artist’s exceptional skill: piercing eyes that exude captivating alertness and power, bright eyebrows depicted in gold, and wild, abundant hair made from yak fibers. Monks wear such remarkable masks during religious festivals such as Saga Dawa, which commemorates the birth, enlightenment, and parinirvana of the Buddha.
The buffalo head can be interpreted in various ways, often associated with Yama, the god of death. Manjushri, in his wrathful form of Yamantaka, triumphs over death through wisdom, banishing forces contrary to law and goodness.
Painted Satin-Embroidered Citipati Dance Costume and Boots with Painted Paper Mask (19th Century)
This extraordinary costume was showcased in the provocative 2010 exhibition “Remember That You Will Die” at the Rubin Museum of Art in New York. A five-skull crown is adorned with a parasol at the top, and the terrifying gaze and gaping mouth are deliberately designed to inspire fear.
Such costumes are worn during Cham dances. Cham dances are narrative performances that aim to tell stories and invoke deities. Originating in Tibet, Cham dances have spread throughout much of the Himalayas. Monks wear these costumes during religious ceremonies in local monasteries, invoking the deities represented by the attire. Cham costumes are exquisitely made, consisting of satin-embroidered and appliquéd dance costumes and boots, complemented by paper masks.
Accompanied by trumpets, cymbals, and drums, and coordinated with dance movements, these costumes present a dramatic and dynamic ritual for invoking deities. Wearing the Citipati costume symbolizes invoking the protective energies associated with these skeletal deities, reminding people of the impermanence of all things.
English 
简体中文