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Lot Essay
This bronze was probably produced for Tibetan patrons of the Guge kingdom in Western Tibet during the early phase of the Second Transmission of Buddhism in the region. It marks an important cross-cultural apex of style during the 11th century and is one of the few gilt examples of its type. Following the Udayana stylistic type, with the concentric folds on the upper torso, it represents an evolution and amalgamation of the Kashmiri and Himachal Pradesh sculptural tradition, regions that were primarily providing Western Tibet with experienced craftsmen. The execution employing high copper content alloy and gilding points to Nepalese influence, while the openwork pedestal is reminiscent of earlier Chinese styles. The very finely detailed right hand and feet and the crisp linear treatment with incised lines delineating the large almond-shaped eyes, arched brows and folds around the arms and legs are remarkable.
Compare with a bronze figure of Buddha in the Nelson-Atkins Museum, Kansas City, with similar linear treatment of the robe around the ankles, and a related example from Ladakh displaying more direct Kashmiri influence, in U. von Schroeder, Indo-Tibetan Bronzes, 1981, figs. 29A and B.
A further example, with similarly swelling thighs, but less refined in execution and ungilded, is illustrated by Von Schroeder, Buddhist Sculpture in Tibet, 2001, fig. 37C, p. 147, dated 11th/12th century.
Compare with a bronze figure of Buddha in the Nelson-Atkins Museum, Kansas City, with similar linear treatment of the robe around the ankles, and a related example from Ladakh displaying more direct Kashmiri influence, in U. von Schroeder, Indo-Tibetan Bronzes, 1981, figs. 29A and B.
A further example, with similarly swelling thighs, but less refined in execution and ungilded, is illustrated by Von Schroeder, Buddhist Sculpture in Tibet, 2001, fig. 37C, p. 147, dated 11th/12th century.