Page 53 - Christie's, materpieces of Buddhist Art December 2, 2015 HK

This superb image of Shakyamuni Buddha, the Enlightened
One, is one of the very few large and finely cast sculpture from
the early period of Tibetan art. Shakyamuni, the founder of
Buddhism, is represented in vajraparyankasana, the classical
diamond posture, recalling the most important event in his
life when he attained enlightenment while seated on the
diamond throne at the Mahabodhi Temple in Bodhgaya. With
his right hand he is touching the earth in bhumisparshamudra,
who bears witness to the truth of his teachings, while his left
hand rests in his lap. The simple robe leaves his right shoulder
bare, the custom of Buddhist monks in South and Southeast
Asia when paying respect to a venerated holy site.
Transcendental light radiates from the cranial protuberance
above the Buddha’s head, represented by the ushnisha, and
is topped by a cintamani, or precious jewel. This cranial
protrusion along with the presence of an urna, or third eye,
an emblem of illumination and nobility, are visual symbols
of his supernatural knowledge and supreme enlightenment.
According to the Lotus Sutra, one of the preeminent
Buddhist texts, both features belong to the thirty-two
physical characteristics of a Great Human Being, known as a
mahapurusha.
This figure of Shakyamuni can be compared in size, style
and quality with three sculptures of the Buddha dating from
the 13th century (see: U. von Schroeder, Buddhist Sculpture
in Tibet, vol. II, 2001, pp. 1160-1161, fig 307E, pp. 1162-1163,
fig. 308B, pp. 1190-1191, fig. 322B). The first example (fig. A), and hair to the present sculpture, placing both works in the
which dates to circa 1200, has nearly identical proportions
to the present work, particularly with regards to the broad
rounded shoulders and tapered waists. Both works are clad
in a simple thin garment, an important feature of bronzes
of this early period. The next comparable (fig. B) once
again illustrates the depiction of a simple delicate garment,
however here as with the present figure, the robe drapes over
the left shoulder filling the space between the torso and the
bent arm. The third comparable (fig. C) illustrates analogous
proportions and treatment of the robe, while also echoing the
modelling of the face and hair of the present work.
Only a few statues of similar importance are in private
collections, such as the well-known Shakyamuni Buddha in
the Zimmerman Family Collection (P. Pal, Art of the Himalayas,
1991, pp. 116-117, cat. no. 58), a second Shakyamuni in the
Tibet Museum at Gruyères, Switzerland (G. Béguin, Art Sacré
du Tibet. Collection Alain Bordier, 2013, no. 75), and a large
Fig. A
Buddha Śa– kyamuni (Tib.: Śa– kya thub pa)
Tibetan Monastic Period circa 1200 AD
Jo khang/gTsug lag khang Collection; inventory no. 981.
Photograph: Ulrich von Schroeder, 1997
literature
Ulrich von Schroeder. Buddhist Sculptures in Tibet, Vol. II: Tibet & China;
pp. 1160-1161, pl. 307E.
(Visual Dharma Publications, 2001).
(圖A) 西藏 約公元1200年 銅釋迦牟尼佛坐像
example in a London Private Collection (M. Rhie, Wisdom
and Compassion, 1996, p.410, cat. no.162 (2b)). The latter,
which has been dated to the early 13th century, has similar
figural proportions, garment style and modelling of the face
early part of the century. Of special note is the highly refined
rendering of the facial features with wide almond-shaped
eyes, deeply incised arched brows centered by a third eye,
and bow-shaped lips. These facial features, along with the
draping of the garment around the Buddha’s lower left arm,
are characteristics of early Tibetan sculpture inspired by tenth
and eleventh century Pala prototypes.
The masterfully cast face with its contemplative and serene
expression makes this image of Shakyamuni one of the
most impressive examples in Tibetan Buddhist statuary. The
physiognomic modelling and precise technical rendering of
the form indicate it was the work of a leading artist during the
first Golden Age of Tibetan art. Shakyamuni statues of this
artistic and art historical significance rarely come to market.
Michael Henss,
PhD in Asian Art
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