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Lot Essay
The present figure represents the ferocious, thirty-four-armed form of the deity Vajrabhairava, a manifestation of the bodhisattva Manjusri, with his consort, Vajra Vetali. Vajrabhairava is one of the principle meditational deities in the Gelug sect of Tibetan Buddhism, which from the 17th century was the dominant religious power in Tibet. The Qing emperors maintained direct links with the dignitaries of the Gelug sect, including the Dalai and Panchen Lamas, and propagated this form of Buddhism within China itself, sponsoring the lavish construction of numerous temples in and around the capital of Beijing. In the 18th century, the Qianlong Emperor promoted himself as a manifestation of Manjusri as well, underlining his wisdom, compassion, and spiritual transcendence. Images of Vajrabhairava, therefore, carried both a religious and political weight, fulfilling their role within Gelug worship and practice, while simultaneously promoting the lineage of the Emperor. As such, and in view of the exquisite casting quality, the present bronze is most likely to have been a special commission sent as a gift to the Qianlong Emperor.
Exquisitely cast in several parts, this bronze depicts Vajrabhairava standing in alidhasana atop geese, bulls, and prostrated figures over a raised double-lotus base. His primary buffalo face is surmounted by tiers of wrathful heads and a diadem of flaming hair. He holds a curved knife and skull cup in his lower hands, while the rest of his hands, each holding an implement, radiate at his sides. Vajra Vetali stands with one leg wrapped around his waist, back arched and arms raised holding a curved knife and skull cup in her hands. Both figures are adorned with beaded jewellry and skull crowns, a garland suspending severed heads, and in between there is a flayed elephant skin on the reverse.
Following the Pala tradition of masterful non-gilt bronze work, this sculpture retains a rich dark brown patina overall, and is characteristic of Lamaist sculpture from the Qing dynasty. Fully realised and exceptionally cast, this work is among the finest sculptural figures of its kind.
Examples of similar modelling and construction are seen in important museum collections and auctions. Compare with a related work of larger size (36.8 cm.) and similar raised lotus base in the collection of Detroit Institute of Arts(acc.no.2018.69). See also a 17th century example with nearly identical iconography was gifted to the Los Angeles County.
Museum of Art by Christian Humann (M.76.143) , see P. Pal, Art of Tibet,1983, p.105, pl.41 and pp.216-217, fig.S28.A closely related figure of similar size, style and dating was sold at Christie’s New York,18 March 2015, lot 4023 Another comparable but larger (34.3cm.) example dated to Qianlong period was sold at Christie’s New York, 15-16 March 2015, lot 3214.
Exquisitely cast in several parts, this bronze depicts Vajrabhairava standing in alidhasana atop geese, bulls, and prostrated figures over a raised double-lotus base. His primary buffalo face is surmounted by tiers of wrathful heads and a diadem of flaming hair. He holds a curved knife and skull cup in his lower hands, while the rest of his hands, each holding an implement, radiate at his sides. Vajra Vetali stands with one leg wrapped around his waist, back arched and arms raised holding a curved knife and skull cup in her hands. Both figures are adorned with beaded jewellry and skull crowns, a garland suspending severed heads, and in between there is a flayed elephant skin on the reverse.
Following the Pala tradition of masterful non-gilt bronze work, this sculpture retains a rich dark brown patina overall, and is characteristic of Lamaist sculpture from the Qing dynasty. Fully realised and exceptionally cast, this work is among the finest sculptural figures of its kind.
Examples of similar modelling and construction are seen in important museum collections and auctions. Compare with a related work of larger size (36.8 cm.) and similar raised lotus base in the collection of Detroit Institute of Arts(acc.no.2018.69). See also a 17th century example with nearly identical iconography was gifted to the Los Angeles County.
Museum of Art by Christian Humann (M.76.143) , see P. Pal, Art of Tibet,1983, p.105, pl.41 and pp.216-217, fig.S28.A closely related figure of similar size, style and dating was sold at Christie’s New York,18 March 2015, lot 4023 Another comparable but larger (34.3cm.) example dated to Qianlong period was sold at Christie’s New York, 15-16 March 2015, lot 3214.