Page 44 - Sporer Collection of Himalayan bronzes
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Shadakshari Avalokiteshvara, the four-armed form of the bodhisattva of craftsmanship on early Chinese sculpture during Mongol rule, see a late
supreme compassion, is believed to be the embodiment of the Buddhist 13th/early 14th century example in J. Huntington and D. Bangdel, Circle of
mantra om mani padme hum, (“hail to the jewel in the lotus”). These six Bliss, 2003, p.182, cat. no.45.
syllables represent the six realms of existence: Om is white and stands for
the god realm, ma is green and stands for the demigod or Asura realm, ni The present example relates closely to that of a 17th century White Tara
is yellow and stands for the human realm, pad is blue and stands for the from the John D. Rockefeller 3rd Collection (now at Asia Society, New
animal realms, me is red and stands for hungry ghost realm, hum is black York); see M. Rhie and R. Thurman, Wisdom and Compassion: The Sacred
and stands for the hell realm. Shadakshari ushers all beings from the six Art of Tibet, 1991, p.134, fg.26. Both faces are characterized by sharp
realms into enlightenment. noses with rounded and incised nostrils, and proud eyebrow ridges. The
bodies are similarly modeled, with elongated limbs and simple, feshy necks
Of particular note is the smooth contours of the body overall, including and waists. The hair on each fgure is rendered with the thick strands and
the broad shoulders and chest, which appears as if flled with prana, or curls at the hairline clearly delineated, in addition to the thick locks fowing
sacred breath, as the deity sits in meditation. This is a superb example of over the shoulders. The jewelry is similarly beaded and placed low on the
the opulent silver metal tradition practiced in Central Tibet during the 16th upper arms, wrists and ankles, and the pendants on the long necklaces are
century. Their inspiration came from northeastern India, where Newar nestled into the fesh around the belly button. The scarves and dhotis are
craftsmen practiced and propagated the use of various metals and materials both thickly cast and embossed. Aside from iconography, the other major
in Buddhist images drawn from Pala prototypes; for further discussion, difference is size: the silver fgure of the present example is nearly 10 cm.
see “Tibet: ‘Non-Gilt Schools’” in U. von Schroeder, Indo-Tibetan Bronzes, larger than the Tara and also retains its gilt base, making for an extremely
1981, pp.461-467. For an example of Indian Pala confuence with Newar impressive fgure and suggesting an important commission.
42 THE SPORER COLLECTION OF HIMALAYAN SCULPTURE
