MONGOLIA or TIBET - Lot 206

MONGOLIA or TIBET A pair of Tsam ritual dance citipati costumes, each consisting of a mask, a parasol banner, banners, a robe, a ruff, an apron, and boots. The masks are made of silver-plated copper using the repoussé technique, with polychrome eye sockets and teeth, topped by a tiara adorned with skulls and garlands of coral beads (Corallium rubrum), quartz, turquoise, and agate, and a victory banner, and adorned with fin-like extensions and banners embroidered with auspicious motifs on the sides. The tone-on-tone damask robes of yellow silk feature dragon motifs in the clouds above a band of lishui and sacred peaks. One has a black velvet collar. The silk aprons, one with embroidered decoration, the other with appliqué (Tib. gos.sKu) featuring a khroda face motif within a citipati head frame amidst flames. The cloud ruff (Yunjian) is made of polychrome silk. The boots are made of velvet, leather, and dyed leather. (Signs of wear, moisture stains on the back, small tears). Masks: H. 76 cm and 78 cm Boots: H. 36 cm and 40 cm Provenance: - Ashencaen and Leonov Gallery, London, 2000s - Ian Triay Collection Tsam is a form of masked dance theater originating in Tibet, whose origins are closely linked to ancient religious practices, particularly the Bön tradition. In their earliest forms, these dances served various ritual functions, such as promoting fertility, expelling evil forces, protecting the community, and symbolically representing the triumph of good over evil. Beginning in the 7th century, with the establishment of Tibetan Buddhism in Tibet, Tsam was gradually integrated into Buddhist religious practices and reinterpreted. The ancient dances took on new meanings, serving in particular to represent the victory of Buddhism over forces considered hostile to its teachings, while also reminding the faithful of the concepts of impermanence, rebirth, and the cycle of existence. Theatrically, Tsam performances can take the form of silent, mimed dances, while some variations incorporate dialogue. The various roles depict a wide variety of supernatural and mythological figures.Performances are generally held outdoors, in monastery courtyards, and are accompanied by a monastic orchestra, which sets the rhythm for the dance with drums, cymbals, horns, trumpets, and conch shells—whose sounds contribute to the solemn and spectacular nature of the ceremony. Masks and costumes are essential elements of the Tsam. Highly colorful and richly ornamented, they depict, among others, Yama, the deity associated with death; Mahakala; and various protective deities, as well as skeletons, deer, buffalo, Garudas, and various spirits. Depending on the region, the masks may be made of papier-mâché, metal, or wood. The costumes, which are particularly imposing, are decorated with embroidery and beads and can be heavy enough to significantly restrict the dancers’ movements. In Tsam performances, skull masks and skeletal figures play a significant role in the ritual imagination. They are primarily associated with death, the world of the dead, and the cycle of rebirth. The “Lords of the Cemetery,” recognizable by their skull masks, appear notably at the beginning of certain performances. Their presence reminds viewers of the transitory nature of human existence and alludes to Buddhist concepts regarding death and rebirth. They can be linked to the Bardo, conceived as an intermediate state between death and a new birth. References: - Featured (without the aprons) in the exhibition *Remember That You Will Die*, Rubin Museum of Art, New York, March 19–August 9, 2010. - Himalayan Art Resources, item No. 205063

Estimate:£67,585.36

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