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PROPERTY FROM A EUROPEAN PRIVATE COLLECTION 西藏 約十三世紀 銅合金錯銀銅釋迦牟尼佛坐像
AN IMPORTANT SILVER AND COPPER INLAID 來源 :
COPPER-ALLOY FIGURE OF SHAKYAMUNI Laszlo Bene先生珍藏
BUDDHA 紐約蘇富比，2003年3月26日，編號46
TIBET, CIRCA 13TH CENTURY
the hands in bhumisparsha mudra, seated in vajaryankasana
H. 64.8 cm, 25½ in.
PROVENANCE
Señor Laszlo Bene.
Sotheby’s, New York, 26th March 2003, lot 46.
Importante statue du Bouddha Shakyamuni en alliage de
cuivre avec incrustation d’argent et de cuivre, Tibet, vers XIIIe
siècle
‡ 60 000-100 000 €

This imposing statue of Buddha is representative of an early the historical Buddha is seated in the meditation posture
group of central Tibetan bronzes influenced by eastern (vajraparyankasana) with right hand in the earth-touching
Indian Pala period (8th-12th c) traditions. Silver highlights the gesture (bhumisparsha mudra), recalls the episode in
whites of the eyes, and copper is inlaid in the lower lip, the which he triumphs over Mara (maravijaya) just prior to his
fingernails and toenails, the chakra mark on the left palm and enlightenment. Having vowed to remain in meditation until
the soles of both feet. Metal inlay was commonly employed he penetrated the mysteries of existence, Shakyamuni
in the embellishment of eleventh and twelfth century was visited by Mara, a demon associated with the veils and
metalwork from eastern Indian workshops, a technique that distractions of mundane existence. The Buddha remained
was enthusiastically espoused by Tibetan craftsmen from unmoved by the diversions with which Mara sought to deflect
the eleventh century. The intense expression of the face with him from his goal. According to traditional accounts Mara’s
bright, engaging eyes and slightly smiling lips is reminiscent final assault was an attempt to undermine the bodhisattva’s
of the silver and copper inlaid bronzes from eastern India, sense of worthiness by questioning his entitlement to seek
such as a standing Buddha found at Kurkihar, Bihar, see Ray, the lofty goal of spiritual enlightenment and the consequent
Khandalavala, Gorakshkar, Eastern Indian Bronzes, pls. 255 a, freedom from rebirth. Aided by spirits who reminded him of
b. In common with the vast majority of larger scale bronzes the countless compassionate efforts he had made on behalf
from eastern India in the medieval period, the lotus pedestal of sentient beings throughout his numerous animal and
is cast separately from the figure. These similarities with human incarnations, Shakyamuni recognised that it was his
Indian traditions suggest the figure was made in Tibet during destiny to be poised on the threshold of enlightenment and
or shortly after the period when contact with Indian artists moved his right hand from the meditation position in his lap
was the principal source of inspiration for Tibetan sculpture and touched the ground, stating, ‘the earth is my witness’.
and painting. Tibetan bronzes after the fourteenth century This act of unwavering resolve caused Mara and his army of
are increasingly modelled and gilded in the Nepalese manner, demons and temptresses to disperse, leaving Shakyamuni
with less emphasis on inlaid metal embellishment. to experience his great enlightenment. The episode is said
This iconographic form of Shakyamuni Buddha, in which to have taken place in Bodh Gaya, Bihar at the adamantine
site (vajrasana) that is believed to have been especially
empowered to expedite The Buddha’s enlightenment.

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