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Lot Essay
Gracefully seated in lalitasana atop a separately cast rounded lotus base, this finely executed image depicts Syamatara, or Green Tara, the most beloved female bodhisattva of the Buddhist pantheon. Revered as the swift saviouress who dispels fears and obstacles, Tara embodies active compassion, intervening on behalf of devotees and guiding them towards liberation. Her benevolent nature is elegantly expressed through the open right hand displayed in varada mudra, the gesture of generosity and blessing, while her left hand delicately holds the stem of a lotus that blooms beside her shoulder, symbolizing purity and spiritual awakening.
Particularly captivating is the goddess's serene countenance. Her gently downcast eyes, softly modelled features, and subtle expression of inward contemplation convey a sense of profound tranquility and compassion. This sensitivity of expression is complemented by an opulent array of ornaments, many retaining their turquoise inlays, which impart both colour and richness to the sculpture. The five-leaf crown is especially elaborate, its surfaces enlivened by prominent stone-set rosettes and intricate detailing that emphasize the luxurious aesthetic of late Nepalese metalwork.
Equally noteworthy is the dynamic treatment of the celestial scarves that frame the figure. Their looping forms animate the composition, drawing the eye upward toward the crown and flowering lotus while creating a graceful interplay between movement and balance. The large floral ornaments adorning the earrings, armbands, crown, and prominent sash terminals echo the lotus blossoms held by the goddess, unifying the composition through a sophisticated ornamental vocabulary.
The sculpture belongs to a refined tradition of Nepalese gilt copper alloy casting in which expressive modelling is combined with lavish embellishment. A closely comparable treatment of the face and exuberant use of gemstone inlays appears on an eighteenth-century figure of Chintamani Lokeshvara in the Musée Guimet, Paris (acc. no. MA 1779). Although depicting a different subject, that example shares the same refined physiognomy, sumptuous jewelled crown, and decorative exuberance characteristic of the finest Nepalese works of the period.
Particularly captivating is the goddess's serene countenance. Her gently downcast eyes, softly modelled features, and subtle expression of inward contemplation convey a sense of profound tranquility and compassion. This sensitivity of expression is complemented by an opulent array of ornaments, many retaining their turquoise inlays, which impart both colour and richness to the sculpture. The five-leaf crown is especially elaborate, its surfaces enlivened by prominent stone-set rosettes and intricate detailing that emphasize the luxurious aesthetic of late Nepalese metalwork.
Equally noteworthy is the dynamic treatment of the celestial scarves that frame the figure. Their looping forms animate the composition, drawing the eye upward toward the crown and flowering lotus while creating a graceful interplay between movement and balance. The large floral ornaments adorning the earrings, armbands, crown, and prominent sash terminals echo the lotus blossoms held by the goddess, unifying the composition through a sophisticated ornamental vocabulary.
The sculpture belongs to a refined tradition of Nepalese gilt copper alloy casting in which expressive modelling is combined with lavish embellishment. A closely comparable treatment of the face and exuberant use of gemstone inlays appears on an eighteenth-century figure of Chintamani Lokeshvara in the Musée Guimet, Paris (acc. no. MA 1779). Although depicting a different subject, that example shares the same refined physiognomy, sumptuous jewelled crown, and decorative exuberance characteristic of the finest Nepalese works of the period.