Sakyamuni Buddha

Seated in bhumisparsha mudra, Sakyamuni appears with silver-inlaid eyes and a turquoise urna, while the robe is articulated with finely engraved textile patterns. The compact, broad-shouldered figure sits upon an unusually elaborate throne base, one of the most distinctive features of the sculpture.

The upper and lower horizontal registers of this stepped base are incised with a floral motif and the Eight Auspicious Symbols, respectively. Between these sections, intricate grillwork incorporates a figure kneeling at the central projection. Dressed in Central Asian-style garb with a long tunic billowing outward on either side, he raises his arms as if supporting the structure. He is framed by two ornate pillars. The grillwork continues with lions positioned on either side of the central projection, each set within its own compartment. The design of the base, particularly its central figure and architectural framing, recalls sculptural bases found in Western trans-Himalayan Buddhist art of the eighth through twelfth centuries.

The long inscription incised on the back of the throne records the patrons, artist, and purpose of the commission. The opening line praises the Buddha as the wise, skillful, and compassionate one born into the Sakya clan, possessing a body like Mount Meru adorned in gold. The inscription then names four patrons: a woman named Norby Gyelmo and three men: Chipa Sherab, Apa Gyeltsen, and the “tenth master,” Dorje Dradul. According to the text, the sculpture was created for the purpose of attaining Buddhahood after this so-called “inferior” life. The inscription concludes by dedicating the merit generated through the commission to all beings so that they may quickly attain Buddhahood. The artist is named as Kun dga' chos, "the lineage holder of skillful artisans."

The throne design, together with the copper and silver inlay work, suggests production by a Western Tibetan craftsman. The term “A pha,” used in the inscription to identify one of the patrons, may represent a Western Tibetan regional title meaning “noble one,” further supporting a Western Tibetan provenance. The sculpture combines a restrained image of the Buddha with a richly-ornamented throne and an unusually informative inscription, preserving both the devotional aspirations of its patrons and the name of the artisan responsible for its creation.