Provenance:
European Private Collection, acquired in London in 1997
American Private Collection
Few large gilt-copper Buddhist sculptures survive from the Tibetan Imperial (Yarlung) period. At close to three feet in height, this ninth-century figure is an extremely rare example of early large-scale Tibetan metalwork.
Sakyamuni, the historical Buddha, stands with a gentle sway through the hips, his weight shifting subtly to one side. Broad shoulders and a smooth, unadorned torso are balanced by the rhythmic folds of the robe, which gathers naturally in the left hand. The youthful face is framed by tightly-arranged snail-shell curls rising into a tall ushnisha topped by a lotus and jewel setting.
A broad forehead, narrow hooded eyes, slightly-smiling bow-shaped mouth, and pronounced chin give the face its distinctive character. Art historian Amy Heller notes that the fluid posture of the Buddha is comparable to early standing figures from Bengal, in contrast to the more rigid upright posture of Buddhas from Bihar.
The robe is among the sculpture's most distinctive features. Narrow bands crossing the chest are filled with finely-engraved textile designs enclosed within pearl-bordered roundels. Several contain lions shown in different poses, including one seated four-square and another raising a hind leg to scratch its neck. The latter is a familiar Tang dynasty motif, while the seated lion was also an emblem of sovereignty in Tibet during the Imperial period. The pearl-bordered roundels recall eighth- and ninth-century Sogdian and Central Asian textile designs. Heller has also suggested that the richly-ornamented robe may reflect an early iconographic convention in which Sakyamuni Buddha was represented in relation to Vairocana in sambhogakaya form.
The figure and lotus pedestal were cast as one and are parcel-gilt, with mercury gilding applied to the front and sides while the back, hair, and lotus pedestal retain the original copper surface. A lug between the shoulders indicates that the Buddha was fitted with a separate prabhamandala (aureole). This construction follows an Indian sculptural tradition in which the figure, backplate, and lotus pedestal could form separate elements assembled with a larger throne structure. Heller compares the treatment of the un-gilded back with eastern Indian gilt-copper figures, where the reverse was often left undecorated because it was concealed by the backplate.
The Yarlung, or Tibetan Imperial, period (7th–9th century) marks the first great flowering of Buddhism in Tibet. During this period, Tibetan rulers supported the introduction and development of Buddhist institutions, texts, and artistic traditions, while connections with India, China, and Central Asia brought a wide range of artistic influences to the Tibetan plateau. The sculpture of the period reflects this international character, combining local traditions with forms and techniques drawn from across the Buddhist world.
