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Lot
Number
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B000168 |
| Lot
Title |
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Gilt Bronze Seated Figure of a Bodhisattva, Sakyamuni |
| Date
of Origin |
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14 Century |
| Country
of Origin |
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Tibet, China |
| Material
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Gilt Bronze |
| Measurements |
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35 cm |
| Lot
Quantity |
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1 (帶盒) |
| Estimate |
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| Description:
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TIBET, 13TH-14TH CENTURY
A GILT-BRONZE SEATED FIGURE OF SHAKYAMUNI The figure of Shakyamuni is one of the most widely represented objects in Buddhist art. Shakyamuni with his hand in Bhumisparsha mudra, calling the earth to witness, is the most popular form of Buddha in East India, Nepal and Central Tibet. Even as time passes and after countless renovations and rebuilding, this iconography still stands as one of the most sacred forms of Buddha. Pilgrimage became a lasting tradition soon after Buddha’s passing, and this includes prostration in front of sacred objects. This resulted in religious practitioners working closely with artists in the creation of these objects. Since Bihar is close to Nepal and Central Tibet, this form of Buddha became the de facto choice in the representation of Buddha. The current Buddha is made of gilt bronze. The gilding is very thick and has a deep tone, in contrast to the thin and bright gilding of Nepalese examples. The hair of the Buddha is a collection of dense high-relief spirals, and painted blue by mixing ground lapis lazuli with animal glue, in keeping with the canonical description of Buddha where it is noted that he has ‘purplish blue curled hair’. He has a gilt protrusion on top of his head, the ushnisha, which is prominently represented here. He has a very broad, curved forehead, on which a turquoise urna can be seen. His two eyebrows are lightly indicated with curved lines, above downcast eyes in meditation. The nose is thin and straight, and the lips gently smiling. He has a prominent mental point, elongated earlobes, and three lines around his neck – these are all prescribed features of the Buddha. The Nepalese influence is most noticeable on the face of the current figure: the thin curved eyebrows, broad forehead, narrow chin, and pea-pod shaped eyes combine to form the gentle countenance that exudes the elegance and ease of a young aristocrat. However, the turquoise urna and the prominent mental point are Tibetan characteristics that reveal its origin. He has broad shoulders and a robust chest, with raised pectoral muscles. This is a new style adopted by Nepalese artists and characteristic of Tibetan Buddhist iconography. This new style can be seen on the thangka of Phags-pa in the Tibet Museum, and the murals of the Buddha of Five Directions in the Kangyur Lhakang in Shalu Monastery. These are all dated to the first half of the 14th century, and can be a benchmark in the dating of the current figure. The Buddha is wearing a patchwork robe, and the seams between the fabric are indicated with beading, some of which is decorated with carved work that is slightly proud of the surface. This very unusual feature shows the creativity of the craftsman in creating a new design. Both the back and the front are beautifully finished, a Tibetan characteristic in contrast with the Nepalese style, where the backs of figures are often left rough. The patchwork robe is a feature of Han-Chinese Buddhism that is not used in Tibet, where single-cloth robes are prevalent. This type of robe came to Tibet through the cultural exchanges between Tibet and the courts of the Song and Yuan dynasties. Although Tibetan monks do not wear patchwork robes, they frequently appear on Buddhist figures of this period. The current figure is sealed with a base plate which is simply decorated with the viśvavajra or the yin-yang symbols frequently seen in the later periods which further proof of the dating of this figure. The base of the current figure was cast separately to facilitate its manufacture. However, this type of bases are often lost, such is the case here. To conclude, this is a Tibetan bronze figure that has been heavily influenced by Nepalese style. It is in very good condition, and its casting shows a high degree of sophistication and refinement, especially with its silver-inlay technique, a uniquely Tibetan tradition. This is an important masterpiece from early 14th century Tibet.
Article refers to Christies 妙相圓明 – 佛教藝術精品 Hong Kong, 31 May 2017, lot 2804 |
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| Condition
and Additional Specification: |
The bronze is in an excellent state of preservation. While the high points of the gilding are somewhat rubbed, as can easily be seen in the photos, most of the original gilding remains. The details are incised and well delineated. There is some minor encrustation under the base which was left un-gilt, and on the areas in the back of the lotus seat.
Disclaimer: We make every effort to accurately describe all items offered for sale. As we specialize in certain antique artworks, we encourage you to use your own judgment and expert advice for dating and valuing items. We cannot make any guarantees as to the actual age of any items offered for sale, as opinions are known to vary from one expert to the next. |
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