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Lot Essay
The Bodhisattva Maitreya is depicted seated in bhadrasana, or "the European posture," with both legs pendant over the edge of the throne. This pose symbolizes his readiness to descend from Tushita Heaven and take earthly form as the future Buddha. His feet rest upon a double lotus flower, a traditional symbol of purity and divine birth. Maitreya wears an ornate five-leaved crown, with the central leaf bearing a dharmachakra (wheel of Buddhist law) and a kirtimukha (face of glory). His hair is styled in a high chignon surmounted by a cintamani flaming pearl. His jewelry includes large circular earrings resting on his shoulders, three necklaces, armlets, bracelets, and a pearl cord that graces his feet. Cast flowers bearing attributes would have emerged from the throne at the bodhisattva’s side and been attached at the shoulders. The statue is beautifully cast and gilded with flowing designs engraved on the hems of the robe and throne.
Stylistically, the Maitreya is associated with central Tibetan fifteenth century sculpture. It can be confidently attributed to the atelier of Sonam Gyaltsen, who was active during the first half of the century. He was commissioned to do work for the Rinpungpa Lord Norbu Wangpo (1403-1466) and his younger brother Palzang, both students of the famous Sakya teacher Zhonnu Gyalchog, in turn a student of Tsongkapa Lobzang (1357-1419).
Bronzes from the atelier of Sonam Gyaltsen exhibit characteristic features such as similarly shaped five-leaf crowns, shape of jewelry, and neatly articulated repetitive folds of drapery over the legs. These statues are cast in a fine copper alloy with a fine yellowish gilding, and often inlaid with small turquoise semi-precious stones, which is a typical characteristic. Bold floral designs such as visible on the cloth’s hems reflect the patterns found in Ming textiles that were sent to Tibet as tribute. Similar single large flower patterns can be found on the Guhyamanjuvajra in the Rietberg Museum (see Uhlig, On the Path to Enlightenment, Zurich, 1995, p. p. 170, no. 113), which is also convincingly attributed to Sonam Gyalytsen. The style relates on formal traditions established in the imperial workshops in China under the Yongle reign, many of whose works were sent as imperial gifts to Tibetan monasteries.
The present figure can be regarded as the best known example of a Maitreya sacred image of this quality, date and size in Western private hands. See another Tibetan Maitreya figure, of a similar size but of a later date, in the Museum of Fine Arts in Houston, object number 2004.2403. A few examples also dating from the first half of the 15th century but of a smaller size are known in private hands, such as a Maitreya figure formerly from the Claude de Marteau Collection recently sold at auction.
Stylistically, the Maitreya is associated with central Tibetan fifteenth century sculpture. It can be confidently attributed to the atelier of Sonam Gyaltsen, who was active during the first half of the century. He was commissioned to do work for the Rinpungpa Lord Norbu Wangpo (1403-1466) and his younger brother Palzang, both students of the famous Sakya teacher Zhonnu Gyalchog, in turn a student of Tsongkapa Lobzang (1357-1419).
Bronzes from the atelier of Sonam Gyaltsen exhibit characteristic features such as similarly shaped five-leaf crowns, shape of jewelry, and neatly articulated repetitive folds of drapery over the legs. These statues are cast in a fine copper alloy with a fine yellowish gilding, and often inlaid with small turquoise semi-precious stones, which is a typical characteristic. Bold floral designs such as visible on the cloth’s hems reflect the patterns found in Ming textiles that were sent to Tibet as tribute. Similar single large flower patterns can be found on the Guhyamanjuvajra in the Rietberg Museum (see Uhlig, On the Path to Enlightenment, Zurich, 1995, p. p. 170, no. 113), which is also convincingly attributed to Sonam Gyalytsen. The style relates on formal traditions established in the imperial workshops in China under the Yongle reign, many of whose works were sent as imperial gifts to Tibetan monasteries.
The present figure can be regarded as the best known example of a Maitreya sacred image of this quality, date and size in Western private hands. See another Tibetan Maitreya figure, of a similar size but of a later date, in the Museum of Fine Arts in Houston, object number 2004.2403. A few examples also dating from the first half of the 15th century but of a smaller size are known in private hands, such as a Maitreya figure formerly from the Claude de Marteau Collection recently sold at auction.