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Lot Essay
This particularly charming and rare sculpture of Pita Jambhala, the Buddhist deity of wealth, exemplifies the superior craftsmanship of Tibetan carvers and demonstrates the tradition of figural woodcarving in India and Tibet. As the material of wood is less durable than that of bronze or stone, fewer sculptures in wood remain to this day. The present work is carved entirely from zitan, a hardwood from India that was exported to China in the late Ming and early Qing dynasties. While zitan is a general term which includes numerous species of wood, it is commonly agreed that it belongs to the genus Pterocarpus. A purplish-black, fine-grained hardwood, zitan was considered the most prized hardwood by the Chinese. The density of the wood makes this material especially suitable for fine and intricate carving. Due to its slow-growing nature, zitan often was only available in small quantities, and by the Qianlong period (1736-1795), its use was controlled by the emperor himself.
Much of the zitan that came to China was used for furniture, as the hard grain of the wood made it resistant to splitting and swelling in changes of climate. Smaller quantities were used for boxes and other scholars’ accoutrement. Fewer works of sculpture in zitan are known, although the precious nature of the wood meant it would have been an appropriate material for an object of worship.
The figure of Jambhala is seated in lalitasana atop a double-lotus base, his pendent foot extending below his body in a posture of royal ease. In his left hand, he holds a mongoose, signifying his power to bestow wealth and material requisites for anyone seeking to follow the Buddhist path. His right hand cradles a bijapuraka fruit in front of his chest, a symbol of abundance and enjoyment. The rotund body is adorned with simple ornaments and his head is topped with a three-leaf crown. His eyes are wide in an expressive gaze and picked out with paint to intensify the whites of his eyes, and his delicately rendered facial features convey a benevolent yet authoritative expression. A flowing silk ribbon frames his body elegantly, accentuating his figure.
This form of Jambhala is particularly reminiscent of Indian figures of yaksha. Often confused with the Hindu god Kubera or the Buddhist Guardian King, Vaishravana, Jambhala’s rotund figure descends from ancient Indian yaksha figures. In visual iconography, the Hindu god Kubera, also a wealthy deity, and Jambhala are essentially identical, while Vaishravana can be easily distinguished by the presence of armor, among other things. The small size of this work meant that it might have been valued as a treasured personal object of devotion or consecrated in a traveling shrine. Compare the present work with another zitan figure of the arhat, Bakula, sold at Christie’s New York, 20 March 2019, lot 675.
Much of the zitan that came to China was used for furniture, as the hard grain of the wood made it resistant to splitting and swelling in changes of climate. Smaller quantities were used for boxes and other scholars’ accoutrement. Fewer works of sculpture in zitan are known, although the precious nature of the wood meant it would have been an appropriate material for an object of worship.
The figure of Jambhala is seated in lalitasana atop a double-lotus base, his pendent foot extending below his body in a posture of royal ease. In his left hand, he holds a mongoose, signifying his power to bestow wealth and material requisites for anyone seeking to follow the Buddhist path. His right hand cradles a bijapuraka fruit in front of his chest, a symbol of abundance and enjoyment. The rotund body is adorned with simple ornaments and his head is topped with a three-leaf crown. His eyes are wide in an expressive gaze and picked out with paint to intensify the whites of his eyes, and his delicately rendered facial features convey a benevolent yet authoritative expression. A flowing silk ribbon frames his body elegantly, accentuating his figure.
This form of Jambhala is particularly reminiscent of Indian figures of yaksha. Often confused with the Hindu god Kubera or the Buddhist Guardian King, Vaishravana, Jambhala’s rotund figure descends from ancient Indian yaksha figures. In visual iconography, the Hindu god Kubera, also a wealthy deity, and Jambhala are essentially identical, while Vaishravana can be easily distinguished by the presence of armor, among other things. The small size of this work meant that it might have been valued as a treasured personal object of devotion or consecrated in a traveling shrine. Compare the present work with another zitan figure of the arhat, Bakula, sold at Christie’s New York, 20 March 2019, lot 675.