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                                                                                                                              A BRONZE FIGURE OF SAMVARA WITH YOGINI
                                                                                                                              TIBET, 12TH CENTURY

                                                                                                      Exquisitely modeled with Samvara and Yogini in
                                                                                                      embrace, wearing a garland of severed heads, striding
                                                                                                      in alidhasana over two prostrate fgures on a double-
                                                                                                      lotus base with beaded rim, dressed in a short dhoti and
                                                                                                      holding a multitude of implements, the faces with cold
                                                                                                      gilding and hair with traces of red polychromy, his
                                                                                                      hair secured by a tiara and pulled into a high chignon
                                                                                                      topped with small fgures of Buddha
                                                                                                      8√ in. (22.5 cm.) high

                                                                                     $120,000-180,000

                                                                                                                                                                       PROVENANCE:

                                                                                                      The Sporer Collection, New Jersey, acquired between
                                                                                                        1962 and 1985

                                                                                                                                                                                 PUBLISHED:

                                                                                                             Himalayan Art Resource (himalayanart.org), item
                                                                                                              no. 24022

                                                                                                                                   The present fgure is simply ornamented yet
                                                                                                                                sumptuously cast. Many scholars contend that Samvara
                                                                                                                           arises out of a pre-Buddhist deity, and indeed, the third eye,
                                                                                                                          snakes, and the head of Brahma are Shaiva iconography.
                                                                                                                          From the naturalistic proportions to the treatment of details
                                                                                                                          such as in the lotus base and garland of severed heads,
                                                                                                                          this sculpture stylistically echoes fgures from the late Pala
                                                                                                                          style, such as the contemporaneous Kapaladhara Hevajra
                                                                                                                          from the Potala Collection (see U.von Schroeder, Buddhist
                                                                                                                          Sculptures in Tibet; India and Nepal, 2001, pp.302-303, cat.
                                                                                                                          no.102D). The simple lotus fowerheads stippled onto the
                                                                                                                          Yogini’s sash are seen in early Western Tibet bronzes from
                                                                                                                          the 11th century. Certain features testify to this formative
                                                                                                                          period in which Tibet was infuenced from communities
                                                                                                                          in India, appropriating Indian forms while instilling the
                                                                                                                          fgure’s character with Tibetan stylizations. The rendering
                                                                                                                          of the rounded face, with bulging eyes and hairy wrinkly
                                                                                                                          eyebrows, reveals a more Tibetan treatment of the features.
                                                                                                                          The present fgure exemplifes the formative years of Tibetan
                                                                                                                          bronze development, before the fgures were made with
                                                                                                                          the full suite of iconographic details characteristic of
                                                                                                                          Himalayan Buddhism.

                                                                                                                                                     The inscription translates to:
                                                                                                                                                           This statute of supreme emanation body,
                                                                                                                                                           made for the many Dharma Rajas,
                                                                                                                                                           and for all parents,
                                                                                                                                                           created by Dharma king dkon mchog
                                                                                                                                                           rgyal dbang,
                                                                                                                                                           May I pray to achieve two kinds
                                                                                                                                                           of benefts.

28 THE SPORER COLLECTION OF HIMALAYAN SCULPTURE
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