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Lot Essay
This exceptionally beautiful gilt bronze figure of Buddha Amitabha embodies stylistic sophistication and technical finesse, hallmarks of the Zanabazar sculptural school. The workshop of the great Mongolian political and religious leader and master artist, Jebstundamba Khutukhtu Zanabazar (1635-1723), is renowned for incorporating Pala, Newari and Yongle stylistic elements into a uniquely Mongolian artistic expression. Cast as a single form with superbly modeled details and thick, lustrous gilding, Zanabazar school bonzes are hailed as sculptural masterpieces of the period. The noted scholar and conservator Giles Beguin states; “The molded perfection of his pieces, the refinement and variety of the jewelry, and the subtlety of his drapery constitute the height of Lamaistic art” (A. & F. Rossi, Treasures from Mongolia: Buddhist Sculpture from the School of Zanabazar, London, 2005).
The present work depicts Buddha seated in dhyanasana, with his hands in dhyananmudra and holding an alms bowl. He wears a monk’s robe draped over his left shoulder, the hems of which are delicately incised with floret designs. Stylistically the elegant drapery of the robe is reminiscent of Yongle period images, as is the flawlessly cast circular double-lotus base. The Buddha’s form is perfectly proportioned with elongated limbs and a broad robust chest, emphasized by a sensuously tapered waist, features found in both Pala-period and Newari prototypes. The almond-shaped eyes, long pointed nose and rosebud mouth create a serene contemplative expression which is portrait-like in its refinement. Each tuft of hair that rises over the ushnisha is distinct, demonstrating the artist's attention to detail. Compare the present work with a bronze figure of Buddha in the Bogdo Khan Palace Museum in Ulaanbaatar, Mongolia (P. Berger & T.T. Bartholomew, Mongolia: The Legacy of Chinggis Khan, London, 1995, pp.78 & 295, cat.no.107). Though the Palace Museum figure retains its cold-gilded and painted details, the composition, modeling and overall quality of the two works are nearly identical. For further comparison see a Zanabazar school figure of similar size and quality, which sold at Christie's New York on 19 March 2013 for $603,750 (lot 219).
The present work depicts Buddha seated in dhyanasana, with his hands in dhyananmudra and holding an alms bowl. He wears a monk’s robe draped over his left shoulder, the hems of which are delicately incised with floret designs. Stylistically the elegant drapery of the robe is reminiscent of Yongle period images, as is the flawlessly cast circular double-lotus base. The Buddha’s form is perfectly proportioned with elongated limbs and a broad robust chest, emphasized by a sensuously tapered waist, features found in both Pala-period and Newari prototypes. The almond-shaped eyes, long pointed nose and rosebud mouth create a serene contemplative expression which is portrait-like in its refinement. Each tuft of hair that rises over the ushnisha is distinct, demonstrating the artist's attention to detail. Compare the present work with a bronze figure of Buddha in the Bogdo Khan Palace Museum in Ulaanbaatar, Mongolia (P. Berger & T.T. Bartholomew, Mongolia: The Legacy of Chinggis Khan, London, 1995, pp.78 & 295, cat.no.107). Though the Palace Museum figure retains its cold-gilded and painted details, the composition, modeling and overall quality of the two works are nearly identical. For further comparison see a Zanabazar school figure of similar size and quality, which sold at Christie's New York on 19 March 2013 for $603,750 (lot 219).