Page 94 - Bonhams Image of Devotion Hong Kong December 2, 2021

1041 Y Ф
AN IVORY CARVED SEAL IN THE FORM OF ANGULIMALA
MYANMAR, 18TH/19TH CENTURY
Bearing an inscription ‘Thura Kyaw Htin Bwè Naung Palè Khon Phya Min Tazeit’,
translated: “The seal (tazeit) of Thura Kyaw Htin, Lord (Min) of Bwè Naung & Palè
Khon Phya.”
With traces of pigment in recessed areas of the base.
9 cm. (3 1/2 in.) high

HKD200,000 - 300,000

緬甸 十八/十九世紀 象牙央掘魔羅像印章

This delicately carved and pierced ivory seal coveys the virtue of power tempered
by compassion. A dha (sword) is brandished over Angulimala’s shoulders,
making contact with his other, more terrible attribute, a necklace of nearly 1000
fingers. Formerly a bloodthirsty bandit, Angulimala is depicted here kneeling in
acquiescence on an intricately pierced cushion of lotuses. The sacred flower is
a leitmotif in his representation, also appearing in a traditional headband around
his carved locks. According to the Pali canon, an encounter with the Buddha and
his redemptive presence were what converted and transformed Angulimala to a
benevolent and protective icon. In modern Southeast Asia, Angulimala is a patron
saint of childbirth and fertility (Gombrich, How Buddhism Began, 2011, pp.135-
64).

Ivory in pre-modern Myanmar was only harvested from elephants that had died
of natural causes, as they were more valuable alive for their use as beasts of
burden (Tingley, Doris Duke: The Southeast Asian Art Collection, 2003). Over
the centuries, Buddhism has been the leading inspiration for much of Burma’s
artistic innovation. This, in tandem with the rich resources from pre-Buddhist
animistic beliefs, a strong native oral tradition, and an appreciation for elaborate
ornamentation, has resulted in some of the most original and innovative artistic
expressions of the region.

Four comparable 19th-century ivory figures from Burma, of similar size and quality,
can be found in the Indian Museum, Kolkata. Note the similarity in the rendition of
the facial features, garments, and proportions. See Bhattacharya, The Arts and
Crafts of Myanmar: The Indian Museum Collection, 2006, p.39-41, fig.37, 38 &
39, and Fraser-Lu, Burmese Crafts: Past and Present, 1994, p.121.

Provenance
Private Collection, United Kingdom

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