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A LARGE COPPER ALLOY PROCESSIONAL
IMAGE OF BUDDHA AS SUPREME HEALER
Myanmar, Arakan style, 15th-17th century
Seated on a tiered throne, with a beautifully draped shawl over the shoulders
and pendant necklaces covering his chest, his face with a serene, regal expression.
33 1/4 in. (87 cm) high
$100,000 - 150,000
緬甸 阿拉幹風格 十五至十七世紀 至高醫者形象之銅佛坐像
While Buddha images of Myanmar frequently depict him in bhumisparsha mudra – downturned
and calling the earth to witness his enlightenment – this is a rare exception. Instead, this
majestic figure offers a seed of the myrobalan plum, with another resting at the top of the bowl
secured within his lap by an upturned finger. The iconography is clearly that of The Medicine
Buddha, Bhaishajyaguru. However, whereas Bhaishajyaguru is a Mahayana deity, Arakan
culture is known for being Theravada, and thus the Medicine Buddha has no context for
worship.
Ethnically Tibeto-Burmese, Arakan culture occupies a unique position within Buddhist Asia,
whereby Tibeto-Chinese Mahayana and Vajrayana imagery was borrowed to create Theravada
images. This has caused some scholars to thus interpret Arakan images of this sort to depict
the Historical Buddha as the Supreme Healer of all ailments – physical, mental, or spiritual
(Green, Eclectic Collecting: Art from Burma in the Denison Museum, Singapore, 2008, pp.
206-7). For more information on Arakan’s unique and fascinating culture see Gutman, Burma’s
Lost Kingdoms: Splendours of Arakan, Bangkok, 2001, pp. 149-150.
The sculpture also incorporates the image of Crowned Buddha, which is inconsistent with
the iconography of The Medicine Buddha. The tradition of depicting Buddha crowned stems
from Indian Pala-period sculpture (8th-12th centuries), but gained new, local significance and
unmatched popularity in Southeast Asia. In Myanmar, the image is known as Jambhupati
Buddha, and became widespread during Arakan’s Ava period (1364-1555). The image is
associated with a legend wherein an arrogant ruler named Jambhupati is humbled and
converted by the Buddha. Jambhuphati intimidated the monarchs of neighboring states and
in order to quell his hubris, Shakyamuni transformed himself into a mighty king, with splendid
crown, jewelry, and palace.
Regal too, the present sculpture is an important Arakan image. Moreover, in addition to its
large size, the two rings on either side of its base allow for hooks to carry it, indicating that
this was a processional image created for public worship. Conforming stylistically to Tibetan
sculpture of the 15th-17th centuries, the bronze was likely made and used within festivals of
the Arakanese kingdom of Mrauk-U (1429-1785).
Ranking among the best of its kind, and surviving with a rich glossy brown patina, the bronze
compares favorably to Arakan bronzes sold at Christie’s, New York, 5 December 1992,
lot 138; Bonhams, New York, 16 March 2015, lot 64 , and held within the British Museum
(acc. #1880.4070, Zwalf & Oddy, Aspects of Tibetan Metallurgy, London, 1981, no. 14).
Referenced
HAR - himalayanart.org/items/61432
Provenance
Private American Collection
Acquired from Peter Hardt, Radevormwald, Germany in February 2003
116 | BONHAMS