Page 123 - Christie's, materpieces of Buddhist Art December 2, 2015 HK

This unique image of a Buddha standing in graceful poise
pays homage to ideal images from earlier periods of Buddhist
art. The proportions of the body, hand positions, stance and
slight turnout of the left foot echo a 7th-century Licchavi
image from the Kimbell Art Museum (see U. von Schroeder,
Indo-Tibetan Bronzes, 1981, p. 307, fig. 75F). Especially similar
is the treatment of the sanghati; in both works, it falls in
stylised semicircular folds that abstract the body, rather than
enhancing its volume. In the present example, the drapery
between the arms and body remains smooth, outlining the
torso and legs in a golden halo accentuating the separation of
positive and negative space.
The facial features of the present work are unique – with a
trapezoidal face, flat top of the head, aquiline nose, and large,
flat earlobes pressed against the sides of the face and neck.
Compare with a seated figure of the Future Buddha, dated
to the 9th century (P. Pal, Himalayas: An Aesthetic Adventure,
2003, cat. no. 4). The facial features are similar, with prominent the robes and body beneath. While it has been dated to the
noses descending from high, arched brows, full lower lips and
similarly-shaped heads. The robes are both rendered, with
tight gathers at the neck descending into slightly protruding
folds that, once again, abstract instead of model, the body. The
ends of the sanghati flutter very similarly at the sides, swirling vigorous hems and abrasions in the gilding along the body.
with animated flourish in the present example.
For another work with frothy folds, compare with a large gilt
bronze figure of the Buddha Shakyamuni in the Norton Simon
Museum, dated to the 12th century (see P. Pal, Asian Art at the
Norton Simon Museum, vol. 2, 2003, p. 80, cat. no. 49). Each
figure stands on a simple, flat base which would have been
inset into a larger lotus pedestal. The body is in the same
position, with weight on the right leg and the hip swaying out,
and the hands are also in the same mudras. The proportions
of the Norton Simon Buddha are wider – broader face, square
shoulders and wider hips, all circumscribed by a nearly flat
sanghati that frames and also sets off the body within a
golden square. In contrast, the present figure is more rounded
and integrated within his robes. However both figures employ
undulating, nearly serpentine hems to create movement and
brio in an otherwise tranquil image.
In terms of dating, this work bears similarities to another
standing figure from the Qing Court collection (fig. A); both
are cast with square faces, wide noses and prominent hair
curls, and there are striking similarities in the treatment of
11th-12th century in some sources, certain characteristics of
the Qing Court figure indicate it, like the present example,
is likely of later date. Both figures echo the basic form of
earlier traditions, but include characteristics such as stylised,
These abrasions, which are seen in other works of similar date,
are likely attempts to induce archaism, and convey that the
both present figure and the Qing Court example are emulating
an ideal aesthetic in homage of an earlier period.
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