DIMENSIONS: 6.4 cm (2 1/2 in.), the highest
NOTES: Himalayan Art Resources item no. 205439

The Triay Collection of Himalayan and Mongolian Art

15 Dec 2022

Paris, Avenue Hoche

Paris - Bonhams Cornette de Saint Cyr is proud to announce the auction of the Triay Collection of Himalayan and Mongolian Art which will take place in Paris on Thursday 15 December. The collection spans works created over a period of 1,500 years in the Buddhist culture that once flourished in Mongolia, Nepal and Tibet with estimates from €100 to €80,000. The sale consists of more than 480 lots of which 93 lots will be offered in the Live Auction on 15 December, with the remainder being offered in an Online-Only Auction from 10-16 December.

Assembled over a period of 40 years with an eye for the unusual and esoteric, The Triay Collection of Himalayan Art includes a vast array of sculptures, masks, paintings, amulets, sculptures, ritual paraphernalia and objects. In the Tibetan Buddhist artistic traditions, graphic images of death and the afterlife - an area which was of particular fascination to the collector - are used as reminders that life is fleeting and that we must act virtuously. This exceptional sale showcases eerily beautiful images in the form of paintings, sculptures, objects, and ritual items. It presents a rare opportunity for collectors to dive deeply into Buddhist lore and practice.

A number of the highlights are dedicated to the Buddhist deity Chitipati, which take the form of skeletons, represented either singularly or as pairs depicted as a harmonious couple dancing with limbs intertwined, such as a pair of Chitipati ritual dance costumes with white metal and silver masks and silk embroidered garments and boots, Mongolia, 19th century (€80,000-120,000). Another Chitipati ritual dance costume with a papier-mâché mask and painted silk and silk embroidered garments and boots, Mongolia, 19th century will be offered with an estimate of €40,000-60,000. Considered embodiments of the deity themselves, each element of the costume is thoughtfully designed. The five-pointed crown of skeletons and parasol finial surmounting the terrifying gaze and wide gaping mouth of the face is deliberately fearsome.

Bonhams Global Head of Indian, Himalayan and Southeast Asian Art, Edward Wilkinson, commented, "The Triay Collection is a unique assemblage of Himalayan art gathered over decades with a discerning eye and attention to detail. With many works featured in the landmark exhibitions in the Fundación "la Caixa", Madrid in 2000, Musee Guimet, Paris in 2002, Los Angeles County Museum of Art in 2003 and the Rubin Museum of Art in New York in 2010, this collection shines a fascinating light on Buddhist ritual art."

Bonhams Global Head of Chinese Ceramics and Works of Art, Asaph Hyman, commented: "Following the success of the sales of de Marteau and Rousset Collections, the Triay collection is a further milestone in the market. This collection shines a fascinating light on ritual instruments and objects and offers a wonderful opportunity to collectors worldwide. It is an honour to have been entrusted with this remarkable project."
ITEM ID: 5419

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Eight Gaus of Protector Deities

Notes: 19th/early20th century

Eight gaus of protector deities.

Gaus 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 smallest typically contain precious materials and consecrated objects and are worn around the neck.

-Medium-sized gaus also act as portable containers, large enough to carry cloth, string, medicine, miniature sculptures, small tsatsas, or anything else deemed sacred and auspicious. Oftentimes a viewing window is inserted into a hinged frame, while the frame itself is decorated with the Eight Buddhist Emblems and other auspicious motifs. They are frequently carried by traveling merchants, lay people, Buddhist pilgrims, and their pack animals.

-Large gaus are generally not considered portable and are placed within a home, place of business, or temple. They most often house one or more tsatsas, paintings, or sculptures of Buddhist deities.

Regardless of their size, gaus promote good health, prosperity, fruitful business, and safety. As Rhie and Thurman explain, “the least educated among [Tibetans] was still perfectly aware that the image or object in the gau was not the deity or historical figure they were remembering. But it served as a site where the wisdom emanation of that enlightened being could be invoked and communicated with.” (A Shrine for Tibet, New York, 2009, p. 255.)