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Lot Essay
Shadakshari Avalokiteshvara, the four-armed form of the bodhisattva of supreme compassion, is believed to be the embodiment of the Buddhist mantra om mani padme hum, (“hail to the jewel in the lotus”). These six syllables represent the six realms of existence: Om is white and stands for the god realm, ma is green and stands for the demigod or Asura realm, ni is yellow and stands for the human realm, pad is blue and stands for the animal realms, me is red and stands for hungry ghost realm, hum is black and stands for the hell realm. Shadakshari ushers all beings from the six realms into enlightenment.
Of particular note is the smooth contours of the body overall, including the broad shoulders and chest, which appears as if filled with prana, or sacred breath, as the deity sits in meditation. This is a superb example of the opulent silver metal tradition practiced in Central Tibet during the 16th century. Their inspiration came from northeastern India, where Newar craftsmen practiced and propagated the use of various metals and materials in Buddhist images drawn from Pala prototypes; for further discussion, see “Tibet: ‘Non-Gilt Schools’” in U. von Schroeder, Indo-Tibetan Bronzes, 1981, pp.461-467. For an example of Indian Pala confluence with Newar craftsmanship on early Chinese sculpture during Mongol rule, see a late 13th/early 14th century example in J. Huntington and D. Bangdel, Circle of Bliss, 2003, p.182, cat. no.45.
The present example relates closely to that of a 17th century White Tara from the John D. Rockefeller 3rd Collection (now at Asia Society, New York); see M. Rhie and R. Thurman, Wisdom and Compassion: The Sacred Art of Tibet, 1991, p.134, fig.26. Both faces are characterized by sharp noses with rounded and incised nostrils, and proud eyebrow ridges. The bodies are similarly modeled, with elongated limbs and simple, fleshy necks and waists. The hair on each figure is rendered with the thick strands and curls at the hairline clearly delineated, in addition to the thick locks flowing over the shoulders. The jewelry is similarly beaded and placed low on the upper arms, wrists and ankles, and the pendants on the long necklaces are nestled into the flesh around the belly button. The scarves and dhotis are both thickly cast and embossed. Aside from iconography, the other major difference is size: the silver figure of the present example is nearly 10 cm. larger than the Tara and also retains its gilt base, making for an extremely impressive figure and suggesting an important commission.
Of particular note is the smooth contours of the body overall, including the broad shoulders and chest, which appears as if filled with prana, or sacred breath, as the deity sits in meditation. This is a superb example of the opulent silver metal tradition practiced in Central Tibet during the 16th century. Their inspiration came from northeastern India, where Newar craftsmen practiced and propagated the use of various metals and materials in Buddhist images drawn from Pala prototypes; for further discussion, see “Tibet: ‘Non-Gilt Schools’” in U. von Schroeder, Indo-Tibetan Bronzes, 1981, pp.461-467. For an example of Indian Pala confluence with Newar craftsmanship on early Chinese sculpture during Mongol rule, see a late 13th/early 14th century example in J. Huntington and D. Bangdel, Circle of Bliss, 2003, p.182, cat. no.45.
The present example relates closely to that of a 17th century White Tara from the John D. Rockefeller 3rd Collection (now at Asia Society, New York); see M. Rhie and R. Thurman, Wisdom and Compassion: The Sacred Art of Tibet, 1991, p.134, fig.26. Both faces are characterized by sharp noses with rounded and incised nostrils, and proud eyebrow ridges. The bodies are similarly modeled, with elongated limbs and simple, fleshy necks and waists. The hair on each figure is rendered with the thick strands and curls at the hairline clearly delineated, in addition to the thick locks flowing over the shoulders. The jewelry is similarly beaded and placed low on the upper arms, wrists and ankles, and the pendants on the long necklaces are nestled into the flesh around the belly button. The scarves and dhotis are both thickly cast and embossed. Aside from iconography, the other major difference is size: the silver figure of the present example is nearly 10 cm. larger than the Tara and also retains its gilt base, making for an extremely impressive figure and suggesting an important commission.