Representations of the Buddha in sitting pose and showing the vitarkamudra are quite common in the art of maritime Southeast Asia (see also lots 9 and 10), especially Java. The cosmological diagram of the 9th century Borobudur includes a set of Buddha images with the vitarkamudra among depictions of the five celestial Dhyana Buddha's and many attempts have been made so far to identify this sixth member of the group. In our opinion it is not impossible that the Buddha images with vitarkamudra were meant to represent the historical Buddha akyamuni. He was elevated by the Javanese Buddhists and by the designer of the Borobudur to the rank of a celestial Buddha. To him was given a place in the centre of the cosmological diagram and in the centre of the world, from where he would exposed the Doctrine till the end of time. The vitarkamudra has been the specific gesture applied to the representations of preaching akyamuni almost from the very beginnings of the Buddhist iconography. According to the Mahayana Buddhists, the true nature of akyamuni is unconditionally divine and he alone among others remains the most eminent Preacher of the Doctrine till the end of time.

This image ranges among the best products of Central Java of the classical age. The well-modelled body displays smooth curves and spare planes suggestive of spiritual energy. The poised gesture of the right hand and the firmly crossed legs heighten the quality of steadfastness that inspires confidence and faith. The facial expression, calm and meditative, is brightened by a slight smile that reflects attentiveness and compassion. Stylistically this image finds closest parallels in the stone sculptures of Candi Plaosan and Candi Sewu, where we find a similar treatment of the shoulder flap and the presence of the flame adorning the head of Buddha images.


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