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An Important Copper Alloy Figure of Manjushri Central, Tibet, 12th/13th Century
美国 北京时间
2021年09月20日 开拍 / 2021年09月18日 截止委托
拍品描述 翻译

Property of the Albright-Knox Art Gallery
An Important Copper Alloy Figure of Manjushri
Central Tibet, 12th/13th Century
Height 19 in. (48.3 cm)
Himalayan Art Resources item no. 13779.

Arthur B. Michael Fund, 1978.
Collection of Albright-Knox Art Gallery, Buffalo.

Manjushri is identified as the bodhisattva of transcendent wisdom by the prajnaparamita sutra resting on the lotus flower at his left shoulder. His left hand is positioned to hold the stem of the flower, and the right is lowered with palm facing outwards in a gesture of charity (varada mudra). The bodhisattva stands in an elegant, flexed posture (tribhanga) with the hips swaying gently to his right and a sash tied across the thighs and falling to the ankle in a cascade of pleats. A tall three panel crown is tied around the hairline and adorned with an effigy of Vairochana Buddha with hands displaying the gesture of highest enlightenment (bodhyagri mudra).
The artist has modelled the sculpture after the classic Nepalese standing bodhisattvas of the Transitional period (ca 879-1200), such as a gilt copper Avalokiteshvara in the Cincinnati Art Museum standing in a flexed posture with a sash tied at the hip and wearing a tall three panel crown displaying an effigy of Buddha, see Ulrich von Schroeder, Indo-Tibetan Bronzes, 1981, p. 329, pl. 86E. Unlike Nepalese metal sculpture, which is almost always gilded copper, the Albright-Knox Manjushri is cast in plain copper alloy. The Nepalese influence is thus partly disguised by the statue’s brassy color and the absence of mercury gilding. The choice of metal for the casting and the resulting appearance of the statue perhaps reflects the eclectic mix of sculptural influence espoused by Tibetans in this period, including the traditions of medieval eastern India and Kashmir where bronzes are rarely gilded. Compare remarkably similar details — such as the tall three panel crown with prominent Buddha effigy, the extended crown ties, similar flowers above the ears, almost identical armbands, bracelets of very similar shape, and the style of the dhoti reaching just below the knee — of a Nepalese style gilt copper Vajrasattva in the British Museum collected in Tibet in the early twentieth century, W. Zwalf, Buddhism: Art and Faith, London, 1985, illus. p. 125, pl. 162, and a related Manjushri in the Cleveland Museum of Art, org both figures are often described as fifteenth century Nepal but may be earlier Tibetan statues cast by Nepalese artists. Compare also a circa twelfth century gilt copper Avalokiteshvara in Nepalese style, in Ulrich von Schroeder, Buddhist Sculptures in Tibet, 2001, Vol. I, p. 517, pl. 169C. And a slightly later un-gilded copper alloy Avalokiteshvara in Nepalese style, von Schroeder, 1981, op. cit., p. 181, pl. 34D.
A casting flaw at the back of the right ankle exposes an iron armature. An x-radiograph of the sculpture reveals an extensive system of armatures running throughout the hollow cast statue, see Chandra L. Reedy, op. cit., p. 168, pl. 7. Sprues were not removed after casting and remain in place between the right hand and thigh, left arm and waist, dhoti and leg, scarf and ankle, lotus flower and shoulder, and between crown panels and the jatamukuta. This is not unusual practice in early central Tibetan metal sculpture, as seen in two seated figures of Ratnasambhava where casting sprues have been left in place between scarf ends and pedestals, and between crown panels, see von Schroeder, 1981, op. cit., p. 180, pls. 34A, 34B.
This majestic sculpture of the great bodhisattva Manjushri embodies the Buddhist aesthetics of youth and princely bearing, and remains a rare and early example of Tibetan copper alloy sculpture interpreting Nepalese artistic traditions.

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