10th Apr, 2025 11:00
TWO-DAY AUCTION: Fine Asian Art, Buddhism and Hinduism
6
AN IMPORTANT GILT-BRONZE FIGURE OF BUDDHA SHAKYAMUNI, TIBET, 14TH-15TH CENTURY
€15,000
€30,000
A buyer’s premium of 30.00% (including VAT) applies to the hammer price of this lot if your bid is successful.
Superbly cast seated in dhyanasana on a sharply waisted double-lotus base with beaded rims. His right hand is lowered in bhumisparsha mudra while his left is held above his lap. He is clad in a sheer uttarasanga with finely beaded and richly incised foliate hems, gathering in neatly carved folds at the shoulder and atop the base. His face exquisitely modeled with a serene expression marked by elongated eyes below sinuously arched brows centered by a turquoise-inlaid urna, his bow-shaped lips forming a calm smile above the prominent chin, flanked by pierced pendulous earlobes. The hair arranged in tight curls over the high ushnisha surmounted by a golden jewel.
Provenance: From a private collection in London, United Kingdom, and thence by descent, kept by the same family for several decades.
Condition: Excellent condition with expected old wear and casting irregularities, light warping, tarnishing, notable rubbing to gilt, remnants of ancient pigment and varnish, scattered minute nicks and small surface scratches. Unsealed.
Weight: 2,212 g
Dimensions: Height 23.8 cm
Expert’s note:
The beaded and incised hem of the figure’s robe, which wraps around the proper-left arm, points to the Newar influence on the style of this Tibetan bronze and suggest that this figure was created at the height of this style’s influence. On the other hand, the base, with its layered and rounded petals, relates to a corpus of material recently attributed to Yuan dynasty production in China within the 14th century. A bronze of Manjushri bearing a dedicatory inscription from the ninth year of the Dade reign (1305) forms the basis of this comparison and association (for further discussion and several examples, see Bigler, Before Yongle, New York, 2015, pp. 10-11, fig. 3, nos.1, 2, 7, 17, 19). Overall, this depiction of the Shakyamuni Buddha illustrates the fusion of artistic styles, combining centuries of Newari traditions together with the tastes of the Yuan court within Tibet.
The iconographic form in which the historical Buddha is seated, with his right hand in the earth-touching position (bhumisparsha mudra), recalls a momentous episode from his spiritual biography in which he triumphs over Mara just prior to his enlightenment. Having vowed to remain in meditation until he penetrated the mystery of existence, Shakyamuni was visited by Mara, a demon associated with the veils and distractions of mundane existence. The Buddha remained unmoved by all the pleasant and unpleasant distractions with which Mara sought to deflect him from his goal.
According to some traditional accounts, Mara’s final assault consisted of an attempt to undermine the bodhisattva’s sense of worthiness by questioning Shakyamuni’s 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 efforts he had made on behalf of sentient beings throughout his numerous animal and human incarnations, Shakyamuni recognized that his destiny was 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 episode took place at the adamantine throne, vajrasana, beneath the Bodhi tree at Bodhgaya, eastern India, a location said to have been especially empowered to expedite the Buddha’s enlightenment.
Auction result comparison:
Type: Closely related
Auction: Christie’s New York, 12 September 2018, lot 373
Price: USD 212,500 or approx. EUR 255,000 converted and adjusted for inflation at the time of writing
Description: An important gilt-bronze figure of Buddha Vajrasana, Tibet, 14th-15th century
Expert remark: Compare the closely related modeling, manner of casting, decoration, and gilding, with similar elongated eyes, sinuous brows, high ushnisha, garment hems and folds, and size (24.5 cm).
Auction result comparison:
Type: Closely related
Auction: Bonhams New York, 13 March 2017, lot 3013
Price: USD 106,250 or approx. EUR 132,000 converted and adjusted for inflation at the time of writing
Description: A gilt copper alloy figure of Buddha, Tibet or China, 14th century
Expert remark: Compare the closely related modeling and manner of casting, with similar waisted double-lotus base with beaded rims, showing some signs of fire damage. Note the size (19.2 cm).
Superbly cast seated in dhyanasana on a sharply waisted double-lotus base with beaded rims. His right hand is lowered in bhumisparsha mudra while his left is held above his lap. He is clad in a sheer uttarasanga with finely beaded and richly incised foliate hems, gathering in neatly carved folds at the shoulder and atop the base. His face exquisitely modeled with a serene expression marked by elongated eyes below sinuously arched brows centered by a turquoise-inlaid urna, his bow-shaped lips forming a calm smile above the prominent chin, flanked by pierced pendulous earlobes. The hair arranged in tight curls over the high ushnisha surmounted by a golden jewel.
Provenance: From a private collection in London, United Kingdom, and thence by descent, kept by the same family for several decades.
Condition: Excellent condition with expected old wear and casting irregularities, light warping, tarnishing, notable rubbing to gilt, remnants of ancient pigment and varnish, scattered minute nicks and small surface scratches. Unsealed.
Weight: 2,212 g
Dimensions: Height 23.8 cm
Expert’s note:
The beaded and incised hem of the figure’s robe, which wraps around the proper-left arm, points to the Newar influence on the style of this Tibetan bronze and suggest that this figure was created at the height of this style’s influence. On the other hand, the base, with its layered and rounded petals, relates to a corpus of material recently attributed to Yuan dynasty production in China within the 14th century. A bronze of Manjushri bearing a dedicatory inscription from the ninth year of the Dade reign (1305) forms the basis of this comparison and association (for further discussion and several examples, see Bigler, Before Yongle, New York, 2015, pp. 10-11, fig. 3, nos.1, 2, 7, 17, 19). Overall, this depiction of the Shakyamuni Buddha illustrates the fusion of artistic styles, combining centuries of Newari traditions together with the tastes of the Yuan court within Tibet.
The iconographic form in which the historical Buddha is seated, with his right hand in the earth-touching position (bhumisparsha mudra), recalls a momentous episode from his spiritual biography in which he triumphs over Mara just prior to his enlightenment. Having vowed to remain in meditation until he penetrated the mystery of existence, Shakyamuni was visited by Mara, a demon associated with the veils and distractions of mundane existence. The Buddha remained unmoved by all the pleasant and unpleasant distractions with which Mara sought to deflect him from his goal.
According to some traditional accounts, Mara’s final assault consisted of an attempt to undermine the bodhisattva’s sense of worthiness by questioning Shakyamuni’s 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 efforts he had made on behalf of sentient beings throughout his numerous animal and human incarnations, Shakyamuni recognized that his destiny was 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 episode took place at the adamantine throne, vajrasana, beneath the Bodhi tree at Bodhgaya, eastern India, a location said to have been especially empowered to expedite the Buddha’s enlightenment.
Auction result comparison:
Type: Closely related
Auction: Christie’s New York, 12 September 2018, lot 373
Price: USD 212,500 or approx. EUR 255,000 converted and adjusted for inflation at the time of writing
Description: An important gilt-bronze figure of Buddha Vajrasana, Tibet, 14th-15th century
Expert remark: Compare the closely related modeling, manner of casting, decoration, and gilding, with similar elongated eyes, sinuous brows, high ushnisha, garment hems and folds, and size (24.5 cm).
Auction result comparison:
Type: Closely related
Auction: Bonhams New York, 13 March 2017, lot 3013
Price: USD 106,250 or approx. EUR 132,000 converted and adjusted for inflation at the time of writing
Description: A gilt copper alloy figure of Buddha, Tibet or China, 14th century
Expert remark: Compare the closely related modeling and manner of casting, with similar waisted double-lotus base with beaded rims, showing some signs of fire damage. Note the size (19.2 cm).
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Auction: TWO-DAY AUCTION: Fine Asian Art, Buddhism and Hinduism, 10th Apr, 2025
Galerie Zacke is privileged to present a remarkable two-day live auction event, featuring 684 works of art from China, Southeast Asia, India, and beyond.
The highlight is our flagship live auction on Day 1, showcasing lots 1-269, Among the many standout pieces are a ge-type octagonal bowl from the Southern Song dynasty, part of the Jules Speelman collection (lot 137), a rare 1st-2nd century gold figure of a mother goddess from the Zelnik István Southeast Asian Gold Museum collection (lot 176), as well as a group of four parcel-gilt bronze Bodhisattvas from the Bao-Xiang Lo Palace and Temple, with Qianlong marks and of the period (lot 52).
Day 2 continues with our general auction (lots 270-684), offering seasoned collectors and new bidders alike an opportunity to enhance their collections. Learn more.
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