Page 82 - Bonhams IMages of Devotion, Hong Kong Nov 30 2022

Fig. 1
A gilt copper alloy figure of Shakyamuni
Khalkha Mongolia
The second half of the 17th to early 18th century
25.5 cm high
The Palace Museum, Beijing
After Luo (ed.), Classics of the Forbidden City: Tibetan
Buddhist Sculptures, 2009, p. 137, pl. 71.

Zanabazar’s figural compositions are seen in two examples, namely However, despite the present sculpture’s affinity with Zanabazar’s
a seated figure of Buddha in the Qing imperial collection (to which it figures, there are subtle departures upon closer inspection. This is
was presumably gifted) presently on display at the Hong Kong Palace more noticeable in the bodhisattvas, for instance, which have slightly
Museum (fig. 1; Luo [ed.], Classics of the Forbidden City: Tibetan sharper features with straighter brows and more pointed chins than
Buddhist Sculptures, 2009, p. 137, pl. 71), and a standing figure of the Harvard Maitreya. Some technical features also differ while being
Maitreya in the Harvard Art Museums, Cambridge (1963.5). As Rhie more typical of Qing court production. Whereas Zanabazar had a
notes, “The body forms of [Zanabazar’s] sculptures are powerfully rather unique method of soldering his figures to their pedestals (Rhie,
volumetric but so smoothly rounded that they appear highly perfected, 2009, p. 34), the present assemblage comprises five separately cast
much like the classical mode of Gupta Indian sculpture, though elements (three figures with their lotus pedestals, the plinth, and
without the subtleties of fleshy modelling... The faces all have a similar aureole) that are not affixed but combined using tenons and mortices.
youthful, full appearance reminiscent of the Gupta and Pala forms Moreover, regarding the floral motifs embellishing the robe hugging
with smoothed shapes, gently curved eyes, and a rather small mouth the central Buddha’s powerful, Zanabazar-esque frame: the manner in
with slightly pendulous lower lip.” (Rhie, 2009, p. 34). Zanabazar’s which they are engraved and that they decorate not just the hems but
work clearly informed the modeling of this triad, namely each also form roundels within the otherwise plain body of the robe, are very
figure’s cinched waist, full chest, broad shoulders, and soft, rounded much in keeping with Qing bronzes, exemplified by a superlative Qing
physiognomy. This is even more apparent when comparing another, Shariputra, formerly in the Goldman Collection (von Schroeder, Indo-
more holistically Qing, triad of the same subject, whose figures, despite Tibetan Bronzes, 1981, p. 528, no. 150C, and Sotheby’s, New York,
being fuller-bodied, are stiffer and less sensuous (fig. 2). 21 March 2002, lot 154).

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