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49
 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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