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Lot Essay
This elegant figure of Buddha Vajrasana, known in Tibetan as thub pa rdo rje gdan, is cast in the traditional posture of meditation. Seated atop a doublelotus base, he displays the bhumisparshamudra, or earth-touching gesture, calling witness to his
enlightenment. A small vajra sits atop his lotus throne, identifying him as a particular form of Shakyamuni, the sage of the diamond throne. His expression is particularly serene, each detail of his face rendered with precision and care. The folds of his robe drape naturally around his lithe body, the hems delicately incised with auspicious symbols of Tibetan Buddhism. The balanced proportions, refined casting, and lustrous gold patina make this bronze an outstanding example of the master craftsmanship of the Tibetan renaissance. A copper plate marked with two vajra is evidence of this sculpture’s formal consecration and seems to be the original seal. Compare with a fifteenth century image of Shakyamuni at the Rubin Museum of Art (RMA acc. # C2006.66.656; HAR 700092).
enlightenment. A small vajra sits atop his lotus throne, identifying him as a particular form of Shakyamuni, the sage of the diamond throne. His expression is particularly serene, each detail of his face rendered with precision and care. The folds of his robe drape naturally around his lithe body, the hems delicately incised with auspicious symbols of Tibetan Buddhism. The balanced proportions, refined casting, and lustrous gold patina make this bronze an outstanding example of the master craftsmanship of the Tibetan renaissance. A copper plate marked with two vajra is evidence of this sculpture’s formal consecration and seems to be the original seal. Compare with a fifteenth century image of Shakyamuni at the Rubin Museum of Art (RMA acc. # C2006.66.656; HAR 700092).