Provenance:
Swiss Private Collection
The Le Cong Tang Collection
Han Hai, "The Merciful Buddha," Hong Kong, 2015, no. 58
Zhiguan Museum of Fine Art
Published:
The Light of Buddha – Buddhist Sculptures of the Palace Museum and the Zhiguan Museum of Fine Art, exhibition catalogue, Beijing, 2018, pp. 232-243
Jeff Watt, Himalayan Art Resources, item no. 8074
Exhibited:
“The Light of Buddha – Buddhist Sculptures of the Palace Museum and the Zhiguan Museum of Fine Art,” the Palace Museum, Beijing, October 23–December 23, 2018
Elegantly cast and richly gilded, this refined image depicts the bodhisattva Manjushri, the embodiment of transcendent wisdom, seated in vajraparyankasana upon a crisply-defined double-lotus base. The figure displays a serene, introspective countenance, with gently-downcast eyes, softly-arched brows, and full lips forming a subtle smile—features characteristic of distinguished workmanship of the fifteenth century.
The hands are held before the chest in dharmachakra mudra, underscoring the deity’s association with teaching and the turning of the Wheel of Dharma. Graceful lotus stems rise symmetrically along the shoulders, originally supporting the attributes of Manjushri, including the sword of wisdom and the Prajnaparamita scripture, signifying the cutting through of ignorance and the realization of ultimate knowledge.
The sculpture demonstrates exceptional craftsmanship. The torso is slender and the modeling fluid. Particularly noteworthy are the sharply defined clavicles, gently swelling chest, and rhythmic articulation of the limbs, which give the figure a poised, continuous sense of movement. The jewelry, finely chased with beaded and foliate motifs, is inset with turquoise cabochons, enhancing both visual richness and ritual significance, while the dhoti features exceptionally fine incising.
The double-lotus base exhibits well-articulated petals with deeply-undercut edges. The gilding retains a warm, luminous tone, suggesting careful fire-gilding and attentive finishing. Subtle asymmetry introduced by the raised lotus supports lends a dynamic vitality while preserving overall compositional balance.
Jeff Watt (op. cit.) attributes the present sculpture to Sonam Gyaltsen or his atelier. The artist’s hand is comparable in style and technique to that of a gilt-bronze figure of Eleven-Faced Avalokiteshvara, circa 1430, identified by inscription as his work.
Sonam Gyaltsen lived during the first half of the 15th century. He was commissioned to create sculptures for the Rinpungpa Lord Norbu Zangpo (1403-1466) and his younger brother Palzang. Both brothers were students of the famous Sakya teacher Zhonnu Gyalchog, who was a direct pupil of Je Tsongkapa Lobzang Dragpa (1357-1419). Works by Sonam Gyaltsen and his atelier are most easily recognized by the shape of the leaves on the lotus base, pattern incizing around the base (of some figures), incizing on the garments, crown and jewelry, and the delicate front hairline of the peaceful deities.
Sculptures of this calibre were likely commissioned for elite monastic or aristocratic patronage, serving both devotional and meditative functions. The present figure exemplifies the refinement, spiritual presence, and technical mastery associated with the finest Himalayan bronzes of the era.
