NEPAL, 15TH CENTURY

This resplendent gilt-bronze sculpture, epitomizing the zenith of Nepalese artistry, portrays the two principal deities of the Chakrasamvara cycle in an intimate embrace. The male deity, Samvara, is depicted with four faces and twelve hands. He adopts the archer's posture, filled with dynamic tension and potential energy, and he is closely embraced by his consort, Vajrayogini. This divine couple is shown trampling over the deities Bhairava and Kalaratri, indicating the transcendence of obstacles and the subjugation of ignorance. Samvara's hands, a marvel of sculptural complexity, radiate around him. His principal hands, holding a vajra and a bell, are engaged in the vajrahumkara mudra, a gesture that signifies the union of wisdom and compassion. His uppermost arms stretch outwards, gripping the ends of an elephant skin, a motif that suggests the deity's immense power.
The Chakrasamvara cycle of teachings is one of the largest collections of Buddhist tantric literature from early medieval India. It was imported into neighboring areas such as Nepal, Tibet, and Bhutan, and has functioned as one of the most important sources in the formation of religious and cultural systems in these areas.
The Chakrasamvara cycle represents one of the most significant bodies of tantric literature from early medieval India, a corpus of teachings that has profoundly influenced the religious and cultural landscapes of Nepal, Tibet, and Bhutan. The term "Chakrasamvara" itself is a complex Sanskrit compound that embodies a range of meanings. "Samvara" implies a gathering or collection, while "chakra" refers to a circle, symbolizing the integration of body, speech, and mind. Alternatively, "samvara" can be understood as a combination of "sam" (bliss) and "var" (supreme), rendering "Chakrasamvara" as the "circle of supreme bliss." This nomenclature reflects the essence of the deity's role in tantric Buddhism, embodying the ultimate union of bliss and emptiness.
Chakrasamvara can appear in several dozen different forms, from simple to complex, peaceful to wrathful. Therefore, it is necessary to rely on the descriptive literature in the Sanskrit and Tibetan languages to differentiate between the forms. Adding to the complexity, there are more than fifty different traditions of these forms in Tibetan Buddhism. They are meant to emphasize different types of meditation practice that are suited for specific types of emotional and psychological characteristics in the tantric practitioners who take on these intricate practices.
The present sculpture is a testament to the exquisite craftsmanship of Newari artists, whose work is renowned for its intricacy and beauty. While Newar artisans have historically catered to both Nepalese and Tibetan patrons, producing revered images for religious sites such as the Tashi Gomang Stupa at Densatil Monastery, the present work is particularly aligned with Nepalese devotional practices. This is evidenced not only by the use of semi-precious stones but also by the depiction of the deities' tender and intimate gaze, a characteristic that speaks to the gentle and compassionate aspects of their divine nature. The presence of red pigment, a detail commonly associated with Nepalese iconography, further anchors the sculpture's origins in Nepal.
The modeling of the lotus petals and red pigment applied to the back of the base can be observed on a related sculpture of Sahaja Chakrasamvara at the British Museum (acc. 1921,0219.1) likely produced by the same workshop. Further compare the present sculpture with a fourteenth-century sculpture of Chakrasamvara in union with Vajrayogini from Central Tibet in the collection of the Rubin Museum of Art (acc. C2005.16.16) which has been attributed to the hand of a Nepalese artist but produced for a Tibetan audience.