Page 48 - March 23 2022 Boinghams NYC Indian and Himalayan Art

The masterful artisans who crafted this large and sensitively-modeled
sculpture made careful choices to convey the power, majesty and serenity of
this majestic bodhisattva. The raised chin, poised fingers, and gently-lifted
chest create a sense of movement in this strong figure. The surface of his
sensitively modeled body is richly adorned with armbands, necklaces, and
belts, all inlaid with turquoise and the hems of the rich textiles that cover his
legs are delicately incised with ornate lotus scroll. While the proportions of the
bodhisattva’s body are otherworldly, his soft hands and feet give him a lifelike
impression. The lost-wax process employed to create this sculpture ensures
that this important commission is entirely unique, and the intact consecration
base at the underside of the figure means that the sutras and other relics
contemporary to its manufacture still remain preserved.
The present work has several trademark characteristics that suggest it
was created in South Central Tibet in the fifteenth century, likely in the
first half of the century. The facial features, bodily proportions, crown type,
and jewelry and textile decoration can all be stylistically related to the Belri
(Nepalese) style painting tradition that flourished in Tibet, such as those
within the Gyantse Kumbum murals in southwest of Lhasa near Shigatse
painted prior to 1442. Compare the present work, for instance, with an image deciphering by Jeff Watt of an inscription on a gilt-bronze image of an eleven-
of Avalokiteshvara painted on the walls of Temple 3W, and illustrated by Fr. headed Avalokiteshvara, illustrated by U. von Schroeder in Indo-Tibetan
Ricca and E. Lo Bue in The Great Stupa of Gyantse: A Complete Pantheon Bronzes, Hong Kong, 1983, p. 453, fig. 124D. Several distinct stylistic traits
of the Fifteenth Century, London, 1993, color pl. 16; the painted image of found in the present sculpture have since been affiliated with characteristics
Avalokiteshvara, like the present work, is depicted with sinuously curved found in a large body of works attributed to the style of the Sonam Gyaltsen
brows centered by a rectangular urna, long angular nose, and bow-shaped atelier, including examples in museums, private collections, and works offered
mouth. In both the present work and the Gyantse Avalokiteshvara, the head is for sale at auction. These distinguishable features include the richest gilding
supported by a wide neck with prominent creases, and bedecked with a tight- atop a pinkish copper alloy, heavy inlaid-turquoise ornamentation, carefully
fitting necklace with several pendants as well as a lower hanging chain with and softly sculptured lotus petals, and lifelike physical features. Some works
fewer adornments. The hems of the robes in the Gyantse Avalokiteshvara are from this ever-expanding milieu appear clearly to be by the hand of the master,
painted with rich foliate scroll like that on the hems of the present Maitreya. while others are clearly derivative, yet nearly as exquisite. Though there are
The distinct crown type in the paintings of Gyantse Kumbum is also mirrored notable differences between the present sculpture and the Avalokiteshvara
in the image of Maitreya, although the addition of a Garuda at the base of the attributed by inscription to the hand of Sonam Gyaltsen, many elements of his
central petal likely indicates the influence of Nepalese sculpture, in which style are apparent here.
that feature is more commonly found. Wood and papier-mâché sculptures
The incising along the lower rim of the lotus base is rendered as a continuous
within Gyantse, such as a figure of a bodhisattva illustrated on Himalayan Art
band of lotus scroll emerging from a sash-tied vase at the front center of the
Resources, item no. 42759, are remarkably similar to the present image of
rim, a symbol of abundance and fecundity. The hems of the robes, languidly
Maitreya. Compare, also, with a painting of Maitreya from a private collection,
falling from the shins onto the top of the base, are incised with a ‘rice-grain’
illustrated by P. Pal in Himalayas: An Aesthetic Adventure, Chicago, 2003, p.
pattern as well as a lotus scroll similar to that found on the rim of the base.
232, cat. no. 152, dated to circa 1425, which shares many of the aforementioned
The scroll in both places is characterized by semi-individualized blossoms
stylistic characteristics of the Gyantse mural and the present sculpture.
represented from various angles, joined by large circular loops of stem. Such
dense lotus scrollwork is derived from Nepalese art, and can be found in
Similarly, the work shares many stylistic details with the atelier of the artisan,
contemporary Nepalese and Tibetan Buddhist paintings filling the spaces
Sonam Gyaltsen, who worked in the Shigatse area circa 1430. The identity
between the various figures (see, for example, a rare Central Tibetan Lamdre
of Sonam Gyaltsen was only revealed to modern scholars after the 2018
lineage painting of two Sakya masters from the first half of the fifteenth
century sold at Christie’s New York, 22 September 2021, lot 409, where similar
foliate scroll fills nearly every ‘blank’ space in the composition). Nepalese
depictions of foliate scroll were also adopted by Chinese artisans of the
Yuan and early Ming dynasties, after the Nepalese master artisan Anige was
appointed head of the imperial workshops in 1273. Compare, for example, the
incised lotus scroll of the present work with that on a gilt-lacquered wooden
manuscript cover dated by inscription to circa 1410 in the collection of the
Metropolitan Museum of Art (acc. no. 2015.500.1.52a, b), illustrated by J. Watt
and D. Leidy in Defining Yongle: Imperial Art in Early Fifteenth-Century China,
New York, 2005, p. 56, pl. 22. See, also, a rare red lacquered traveling box from
the early fifteenth century, also in the collection of the Metropolitan Museum
of Art (acc. no. 1999.61), illustrated in ibid., p. 37, pl. 7. Both the manuscript
cover and the traveling box depict lotuses joined by looping, semi-circular
stems emerging from sash-draped vases; coincidentally, both the box and the
manuscript covers and others like it were likely produced as gifts to Tibetan
dignitaries. The lotus imagery on the present work, therefore, could have been
influenced by contemporary Nepalese artists who worked extensively in the
area, or from Nepalese-inspired Chinese decorative arts gifted to Tibetan
monasteries.
This impressive sculpture has remained within an esteemed private collection
in Switzerland for the past thirty-five years.

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