A GILT-BRONZE FIGURE OF BUDDHA SHAKYAMUNI

Description:

Tibet, late 15th cent.
H. 20,7 cm
Seated in vajrasana on a lotus base with the vajra-emblem to ist front, his right hand lowered in the bhumisparshamudra while the left is resting on his lap, wearing monastic cloak with a small section draped over his left shoulder in the shape of a swallow’s tail, ist border incised with a band of scrolling tendrils, his cold-gilded face displaying a serene expression with downcast eyes below arched eyebrows that run into nose-bridge, raised urna at his forehead, painted facial details, pierced elogated earlobes and the blue coloured curled hairdo continuing into the ushnisha topped with lotus bud, sealed.
Old Southern German private collection
This bronze represents the historical Buddha on the threshold of enlightenment. He is seated in the vajrasana posture, recalling the moment when he attained liberation under the Bodhi tree in Bodhgaya. His right hand displays the bhumisparshamudra, or earth-touching gesture. He calls upon the earth to witness the truth of his teachings and his victory over Mara, the god of desire, who had tried to distract him. This particular iconographic form is most commonly depicted in Buddhism, as it captures the ultimate moment when Shakyamuni triumphed over his last obstacle to spiritual liberation. He is mainly depicted as a human figure. His robes are marked with only a few linear designs, with the navel and nipples being prominent. Only the elongated earlobes and the bump on his skull reveal his superhuman nature. Many comparable iconographic examples have been created over the centuries, although only a small group share similar stylistic details such as a short neck, full and rounded shoulders, and the hem of the robe draped over the left shoulder in the shape of a swallowtail. These particular examples were not only commemorative of the most important event in the life of Buddha Shakyamuni and thus also for his followers, but most likely to reproduce the main image in the Mahabodhi Temple of Bodhgaya, the mother of all icons. In fact, it is known that followers held certain sacred images in such reverence that they were copied faithfully over the centuries. The smooth surface of the body was once cold-gilded, traces of which can still be seen on his face. This is in accordance with Indian iconographic regulations, which mentioned that the skin of the Buddha should have a golden hue - Very minor wear and traces of age, stand slightly disformed