TIBET, 15TH-16TH CENTURY

This exquisite sculpture of Amitabha is a paramount example of the artistic brilliance associated with the atelier of Sonam Gyaltsen, a distinguished 15th-century artist whose workshop flourished in the Shigatse area of Central Tibet. The identity of Sonam Gyaltsen and his workshop's significance in Tibetan art history came in recent years after the researcher Jeff Watt deciphered an inscription on a gilt-bronze figure of an eleven-headed Avalokiteshvara, illustrated by U. von Schroeder in Indo-Tibetan Bronzes, Hong Kong, 1983, p. 453, fig. 124D. This inscription, filled with valuable historical details, provided a rich tapestry of information, including the names of two donors, a renowned Buddhist teacher, and the artist himself. By correlating these names with historical records, a circa 1425 date for the workshop's activity was established, marking a pivotal period in Tibetan art history.

The present sculpture embodies nearly all of the stylistic nuances characteristic of the Sonam Gyaltsen atelier. It showcases the unique lotus petal design of the base, a hallmark of the workshop. The facial features of the Buddha, notably the almost square-shaped face with heavy-lidded eyes and a naturalistic brow that converges just below the urna, are distinctively reminiscent of the atelier’s style. The robe of Amitabha is another testament to the meticulous craftsmanship relating to Sonam Gyaltsen's workshop. The upper lapel of the Buddha’s robes is delicately incised with the eight auspicious symbols, while the inner hem of the robe is adorned with intricate rice grain patterns, a decorative motif frequently employed by the artist. The floral patterns incised around the bottom of the lotus base, along with detailed incisions on the tips of the double lotus base and across the figure, exemplify the close relationship between the present work and sculptural works directly linked to the artist. Compare the shape of the lotus, the floral incising at the rim of the base and the overall proportions of the present figure with agilt copper-alloy figure of Amitayus illustrated by Ulrich von Schroder, Indo-Tibetan Bronzes, Hong Kong, 1981, p.446, no.121A

Amitabha is an easily identifiable and ubiquitous tathagata associated with the West. He is the father of the padma or lotus family of Vajrayana Buddhist deities, associated with the element of fire, and the enlightened activity of discriminating awareness. He is often pictured with the other four tathagata—Akshobya of the East, Ratnasambhava of the south, Amoghasiddhi of the North, and Vairochana of the Central direction. These primordial buddhas bear an appearance like that of the historical Buddha Shakyamuni, unadorned in the garb of an ordained monk. In an unusual departure from traditional depictions of the Buddha in Nirmanakaya form, which typically eschew ornamental inlays, this figure aligns with the Sonam Gyaltsen tradition by featuring stone inlays. These inlays, once adorning the urna and the Buddha's tasseled shawl, suggest a fusion of artistic liberty with spiritual representation, a signature of this atelier's work. Compare the incised shawl, the placements of the inlays, and overall proportions of the present work with a masterwork of the Buddha relating to the Sonam Gyaltsen atelier illustrated in Himalayan Art Resources item number. 11595.

Sonam Gyaltsen's workshop stands as a beacon of Tibetan artistic excellence during a golden age of art and literature. The style of this atelier represents a harmonious amalgamation of various regional influences, including from India, Kashmir, Nepal, to China. This confluence of styles was skillfully reinterpreted to create a distinct and uniquely Tibetan aesthetic that flourished in the fifteenth and sixteenth century, reflecting both the regional diversity and the unifying Buddhist culture of the period.

Compare the present work to another large 15th century gilt-bronze, of Akshobhya, sold at Christie's New York 22 March 2023, lot 315 for $214,200.