Page 20 - Indian and Himalayan Art, March 15, 2017 Sotheby's NYC

212 This sculpture represents the early phase of Tibetan Buddhist
art during the Chidar, the Later Di usion of Faith, that took
PROPERTY FROM A PRIVATE SWISS COLLECTOR inspiration from eleventh and twelfth century Pala period (circa
750-1200) sculptural traditions of eastern India. Compare
A LARGE AND RARE BRONZE FIGURE the broad shoulders and narrow waist of an eleventh century
OF BUDDHA SHAKYAMUNI INLAID WITH Buddha at Surajpur, Bihar, see S. L. Huntington, The Pala-
SILVER AND COPPER Sena Schools of Sculpture, Leiden, 1984, pl. 136, and a twelfth
Tibet, 13th Century century Pala period brass Buddha in a private collection, see U.
von Schroder, Indo-Tibetan Bronzes, Hong Kong, 1981, p. 289,
Himalayan Art Resources item no. 13391. pl. 72C.
Height: 16 ¼ in. (41.3 cm)
The gure is not gilded, in common with the majority of metal
PROVENANCE sculpture from eastern India and in contrast to the popular gilt
Acquired in India, 1969. copper medium of metal sculpture from Nepal. The sculpture
Collection of the late Mrs. Annalies Sutter, Switzerland. is inlaid with copper and silver, as is a signi cant proportion
of medieval eastern Indian metalwork: the downcast eyes
LITERATURE are inlaid with silver, which is visible through the polychromy,
U. von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, and the lips and ngernails are elegantly inlaid with copper.
p. 185, pl. 36E. Consecration marks in the form of incised seed syllables om,
ah and hum are positioned at upper chakra points on the gure
ᅮ$ 300,000-500,000 verso representing the puri cation of body, speech and mind.

The sculpture is likely to have been made in central Tibet
during the thirteenth century when the eastern Indian
traditions were gradually assimilating into this uniquely Tibetan
sculptural style. Compare the face, hairline, shape of head and
ushnisha, the hands and feet and the diaphanous robe of the
Tibetan eleventh or twelfth century Buddha from the collection
of Jack and Muriel Zimmerman, see Marylin M. Rhie, Robert
A. F. Thurman, The Sacred Art of Tibet, London, 1991, p. 74,
cat. no. 2. Compare also the group of twelfth or thirteenth
century bronze Tathagatas at Nyethang, see U. von Schroeder,
Buddhist Sculptures in Tibet, Hong Kong, 2001, pp. 1162-3, pls
308A-E.

This iconographic form of Shakyamuni Buddha, in which the
historical Buddha is presented in the earth-touching gesture
(bhumisparsha mudra), recalls an episode from his spiritual
biography in which he triumphs over Mara (maravijaya) just
prior to his enlightenment.

Having vowed to remain in meditation until he penetrated the
mysteries of existence, Shakyamuni was visited by Mara, a
demon associated with the veils and distractions of mundane
existence. The Buddha remained unmoved by the diversions
with which Mara sought to de ect him from his goal. According
to some traditional accounts, Mara’s nal assault consisted of
an attempt to undermine Shakyamuni’s sense of worthiness
by questioning his entitlement to seek the lofty goal of spiritual
enlightenment and the consequent freedom from rebirth.

Aided by spirits who reminded him of the countless
compassionate e orts he had made on behalf of sentient
beings throughout his numerous animal and human
incarnations, Shakyamuni recognised that it was his destiny
to be poised on the threshold of enlightenment. In response
to Mara’s query Shakyamuni moved his right hand from the
meditation position in his lap and touched the ground, stating,
‘the earth is my witness’. This act of unwavering resolve
caused Mara and his army of demons and temptresses
to disperse, leaving Shakyamuni to experience his great
enlightenment. The thunderbolt sceptre (vajra) that appears
on the lotus throne before the gure refers to the adamantine
site (vajrasana) at Bodh Gaya, which is said to have been
empowered to expedite his enlightenment.

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