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A WOODEN FIGURE OF A WHITE TARA
TIBET OR MONGOLIA, 17TH CENTURY
4Ω in. (11.5 cm) high
$30,000-50,000
PROVENANCE
Private European Collection, 1970s/1980s.
California Art Market.
Private Collection, New Jersey, acquired from the above in the 2000s.
Acquired by the current owner from the above in 2016.
PUBLISHED
Himalayan Art Resource (himalayanart.org), item no. 24308
西藏或蒙古 十七世紀 多羅菩薩木坐像
actual size
A. & F. Rossi, Treasures from Mongolia: Buddhist sculpture
from the School of Zanabazar, London, 2005, cat.no.18
The goddess of longevity sits upon a lotus base in dhyanasana with her right sculptural style. While there is a well-documented tradition of wooden fgural
hand gently resting on her knee in varadamudra and her left in vitarkamudra, carving in Tibet, there are few examples of wooden fgures from Zanabazar
holding what would have been the stem of a lotus. She wears a diaphanous Mongolia and for that reason, we cannot be sure of the origin of this rare
dhoti which drapes over her legs and spills onto her throne, and a delicate work. Perhaps the creation of a Tibetan artist who was looking at Zanabazar
scarf covering her shoulders. The simplicity of her jewelry - a single- prototypes, it is likely the sculptor was infuenced by the Zanabazar aesthetic.
strand necklace, arm and wrist bands, circular earrings and a fve-tiered The wide, deeply carved petals of the lotus base are very similar to those
crown - demonstrates the artist’s emphasis on expertly modeled form over of a Zanabazar school bronze fgure of Machig Labdron (A. & F. Rossi,
embellishment. The contours of her body are rounded and soft, with special Treasures from Mongolia: Buddhist sculpture from the School of Zanabazar,
attention paid to her fnely rendered hands and feet. Her exquisitely carved London, 2005, cat.no.15). The modeling of the physiognomy, particularly the
facial features make her appear almost human, while the slight tilt of her head uprightness of the body and the full rounded contours are nearly identical to
lends her an air of approachability, inviting the viewer to meet her intimate a Zanabazar school gilt bronze fgure of Sitatapatra (op. cit., cat.no.18). The
gaze. Every feature of this small masterpiece is meant to convey the gentle face, which is carved with portrait-like sensitivity, seems to be based on a
essence of the benevolent goddess. living model, perhaps the artist’s sister or wife. Each of these elements blends
together, transcending stylistic conformity to become the unique vision of a
Composed of several small pieces of wood fawlessly joined together, this master artist.
elegant work exhibits several features which relate to the Zanabazar school
