Page 84 - Himalayan Art Macrh 19 2018 Bonhams

A close formal analysis of his superbly cast masterpiece reveals a few idiomatic features
of Sonam Gyaltsen’s sculptural style, surmised as follows. The sculpture is exquisitely
gilded over a pinkish copper alloy. The lotus base is completed in the round and
includes engraved patterns of foliate imagery on a band above the foot rim. Its petals are
exquisitely modeled with symmetrically curling plump inner corolla terminating in curlicue
tips, set within swelled outer petals with pointed tips, in turn flanked by jagged chased
sepals. While surviving unsealed, a gilded edge to the foot rim underneath suggests that
Sonam Gyaltsen may have gilded his consecration plates.

The physiognomy of his deity is slender and nimble, but not attenuated, and with
rounded joints between the limbs. Great care is taken to portray the anatomy of every
finger, always modeled in a position different from the next. Hair descends naturalistically
in long tresses over the shoulders and arms, but is also more distinctively arranged into a
thick fringe of rounded curls before the crown. In the case of this benign Avalokiteshvara,
the deity wears silk garments that hug the legs below, but also drape on the sides to
accentuate their weight and sumptuousness. These garments are also engraved with fine
patterns on a broad hem or section, but otherwise left plain as a golden backdrop for the
fine turquoise jewelry inlaid into each item of regalia.

Sonam Gyaltsen treats jewelry in a particularly unique and refined manner. Each inset
stone is small and precisely cut in a round or teardrop shape, except for a rectangular
central belt ornament. While inset into every piece of regalia, the components of which
are uniform in Tibetan art (crowns, armbands, aprons, etc.), the stones are small
(especially if one were to compare them to contemporaneous work at Densatil) and
twinkle, like stars peppering a brilliant golden sunset.

The designs of bracelets and armlets on the deity’s primary limbs, as well as his crown
leaves are a most telling indicator of Sonam Gylatsen’s hand. Each shares a common
denominator that becomes richer and more complex as they near the head of the deity.
Starting with the bracelet, from the band’s beaded edge extend three lotus petals bearing
a piece of inset turquoise at the center of a pointed five-lobed leaf. At the armlets this
basic element is larger and more elaborate, supplemented with an additional piece of
turquoise and foliate sprays framing the three initial lotus petals, and a further lotus-borne
turquoise pendant hanging from a beaded chain below. Moving to the crown, the same
element appears again, but now the five-lobed leaves are more pointed and rendered
in openwork, while longer sprays flank the three lotus petals, and the central crown
leaf is inset with four additional pieces of turquoise. Furthermore, the lowermost swags
of his bejeweled apron also terminate with this same leaf motif. The aforementioned
lotus-borne turquoise pendant swinging from the armlet is another distinctive marker for
Sonam Gyaltsen’s oeuvre, and is repeated throughout the apron.

Lastly, to address what many would concede is a sculpture’s most important feature,
Sonam Gyaltsen appears to depict a perfectly composed face for his subject, with
a unique and enigmatic expression that evokes the ineffable spirit of the deity – in
the present case, a beautifully-featured calm, gentle face at rest, with a soothing,
compassionate smile.

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