Page 90 - Christie's, materpieces of Buddhist Art December 2, 2015 HK

Padmasambhava is one of the most renowned teachers in
Buddhist art history and known for bringing Buddhism to
Tibet in the 8th century. Despite his historical impact, his
biographical details are clouded by the passage of time.
There are at least four different versions of Padmasambhava’s
birth and early childhood. In one account he is said to have
been born in Northern India as the son of a king, or minister,
while in another, he is believed to have been born on a lotus
blossom as an emanation of Lokeshvara and the Buddha
Amitabha in the kingdom of Oddiyana in eastern India. The
local Tibetan Bon tradition of Buddhism claims him as a
native son. Finally, it is possible he was born in South India,
and was the brother-in-law of Shantarakshita, the Indian
abbot of Nalanda monastery in Bihar and the founder of
Samye, the first Buddhist monastery in Tibet. For examples of
the various forms of Padmasambhava, see: R. Linrothe, Holy
Madness: Portraits of Tantric Siddhas, 2006.
The present depiction, where Padmasambhava is seated in
dhyanasana atop a double lotus base, references his role as
a master teacher, his most recognizable form. Exquisitely
cast, this 15th century sculpture is one of the finest early
portrayals in bronze. Here the tantric master holds a kapala
in his left hand and a vajra in his right. His khatvanga scepter Zimmerman sculpture does not achieve the level of animation
rests upright against his left shoulder. He wears a heavily
pleated robe fastened at the chest with a jewelled pendant.
The exceptionally sculpted face engages the viewer with a
powerful wide-eyed gaze, indicative of his tantric power. This
penetrating stare is reminiscent of the celebrated sculpture of
a seated Yogi from The Collection of Robert H. Ellsworth, sold
at Christie’s New York, 17 March 2015, lot 8 (fig. A). Adding to (see J. van Alphen, Cast for Eternity: Bronze Masterworks from
the detail of the sculpture, he is adorned with pendant earrings India and the Himalayas in Belgian and Dutch Collections,
and a tall vaulted hat embellished with a symbolic five-petal
lotus on the front, and topped with the sun, crescent moon
and vajra. Traces of cold gold and polychromy remain on the
face and eyes, revealing the original rich bronze surface.
Most of the paintings and sculpture that portray
Padmasambhava were created from the 17th century onwards,
during the third development of the Nyingma (ancient)
88 Masterpieces of Buddhist Art 大俱足 — 經典亞洲佛教藝術
tradition of Tibetan Buddhism. In many of these 17th century
painted examples, Padmasambhava is shown amidst scenes
from his life, as illustrated in a 16th-early 17th century thangka
from the Robert H. Ellsworth Private Collection, which depicts
the teacher with almost identical features to those of the
present sculpture (see M. Rhie, Wisdom and Compassion:
The Sacred Art of Tibet, 1991, pp.176-177, cat. no.49). In both
examples, the subject is clad in heavily pleated robes and
holds his three identifying attributes; a kapala, a vajra and
a khatvanga. Once again, he is depicted with a powerful
expression conveying a high level of yogic mastery.
The majority of early portrayals of Padmasambhava are in
painting. Depictions in bronze are rare, making the present
work exceptionally prized. One of the few comparable works
from the 15th century is a repoussé figure of Padmasambhava
from the Zimmerman Family Collection, now at the
Metropolitan Museum of Art (see M. Rhie, op. cit., pp.172-173,
cat. no. 47). Though slightly larger than the present example,
the Zimmerman repoussé lacks the elegant proportions
and depth of carving of the present figure, particularly with
respect to the deeply layered robes and sensitively rendered
hands and feet. Further, the contemplative expression of the
of the present Padmasambhava, whose gaze commands
engagement with the viewer. A 16th century sculpture
from a private collection in Belgium also depicts the great
adept seated on a double lotus base with his traditional
accoutrements: the skullcup and vajra (the khatvanga is
missing), and a cap with upturned lappets and a pleated robe
2005, pp.180, cat no. 57). Like the present work, the artist
of this sculpture has emphasized the gaze of the figure by
enhancing the elongated eyes with bulging round pupils.
However, the present figure realizes an unparalleled quality of
form and detail, in both the overall casting and the intricacies
of the face and dress. This exceptional and early portrait
of the great Buddhist master is one of the most important
depictions to ever come to market.