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Lot Essay
This finely cast Buddha, inlaid with silver at the eyes and urna, exemplifies the sophisticated elegance of early Kashmiri metal sculpture during the 7th and 8th century.
The figure is seated in vajrasana with plump feet, atop rounded shallow cushion on an open pedestal supported by forward-facing lions, a motif associated with royal and spiritual authority in early Himalayan art. Additionally, the throne is centred by a dwarf yaksha figure seated cross-leg with hands raised to support the weight. Of particular note is the throne edges, supported by unusually thin columnar struts, which compare closely to an 8th-century bronze Buddha preserved in Phiyang Monastery in Ladakh (see von Schroeder, Indo-Tibetan Bronzes, 1981, p. 114, no. 14B). These architectural elements are notable for their slender proportions and structural delicacy, providing both vertical balance and visual lightness to the composition.
The Buddha raises his right hand in abhaya mudra, a gesture of reassurance, while the left hand rests upon the thigh, delicately grasping the end of his robe. The monastic robe, rendered with refined simple lines, flows smoothly across the body without any evidence of the garment’s natural folds, however, long vertical pleats behind the left arm fall to neat terminus at the hip. This stylistic restraint is consistent with early Kashmiri bronzes, where volume and surface are favored over ornate patterning. The Buddha’s face is finely modeled with silver-inlaid eyes and urna, enhancing the contemplative gaze. His lips curve into a distinct ‘W’ shape, a stylistic hallmark echoed in related bronzes from the period. The ushnisha is shallow, with the hair worn in soft, smooth curls, features that further point to an early date within the Kashmiri sculptural tradition. Gouriswar Bhattacharya has read the barely legible left edge and right edge of throne base inscription and has suggested the translation “Meritorious Gift of Whab gri”, which conforms to the practice of meritorious inscriptions common to Kashmiri sculpture from the period.
Further examples of Kashmiri Buddha with smooth robes and silver-inlaid features dated to the 8th-century can be found in Los Angeles County Museum of Art (acc. no. M.72.2.1), see Pal, Indian Sculpture, Vol. 1, 1986, p. 226, no. 100 and another with similar facial modeling and the distinctive ‘W’ form lips in Cleveland Museum of Art (acc. no. 1981.10), see Pal, The Arts of Kashmir, New York, 2008, fig. 25 is also dated circa 8th century. Also compare a Buddha in The British Museum with similar treatment of the robe and ushnisha (inv. 1905,0612.5), see Zwalf, Buddhism: Art and Faith, London, 1985, no. 146. Also, compare with the three other closely related examples in von Schroeder, Indo-Tibetan Bronzes, 1981, no. 14A, C, and D.
The figure is seated in vajrasana with plump feet, atop rounded shallow cushion on an open pedestal supported by forward-facing lions, a motif associated with royal and spiritual authority in early Himalayan art. Additionally, the throne is centred by a dwarf yaksha figure seated cross-leg with hands raised to support the weight. Of particular note is the throne edges, supported by unusually thin columnar struts, which compare closely to an 8th-century bronze Buddha preserved in Phiyang Monastery in Ladakh (see von Schroeder, Indo-Tibetan Bronzes, 1981, p. 114, no. 14B). These architectural elements are notable for their slender proportions and structural delicacy, providing both vertical balance and visual lightness to the composition.
The Buddha raises his right hand in abhaya mudra, a gesture of reassurance, while the left hand rests upon the thigh, delicately grasping the end of his robe. The monastic robe, rendered with refined simple lines, flows smoothly across the body without any evidence of the garment’s natural folds, however, long vertical pleats behind the left arm fall to neat terminus at the hip. This stylistic restraint is consistent with early Kashmiri bronzes, where volume and surface are favored over ornate patterning. The Buddha’s face is finely modeled with silver-inlaid eyes and urna, enhancing the contemplative gaze. His lips curve into a distinct ‘W’ shape, a stylistic hallmark echoed in related bronzes from the period. The ushnisha is shallow, with the hair worn in soft, smooth curls, features that further point to an early date within the Kashmiri sculptural tradition. Gouriswar Bhattacharya has read the barely legible left edge and right edge of throne base inscription and has suggested the translation “Meritorious Gift of Whab gri”, which conforms to the practice of meritorious inscriptions common to Kashmiri sculpture from the period.
Further examples of Kashmiri Buddha with smooth robes and silver-inlaid features dated to the 8th-century can be found in Los Angeles County Museum of Art (acc. no. M.72.2.1), see Pal, Indian Sculpture, Vol. 1, 1986, p. 226, no. 100 and another with similar facial modeling and the distinctive ‘W’ form lips in Cleveland Museum of Art (acc. no. 1981.10), see Pal, The Arts of Kashmir, New York, 2008, fig. 25 is also dated circa 8th century. Also compare a Buddha in The British Museum with similar treatment of the robe and ushnisha (inv. 1905,0612.5), see Zwalf, Buddhism: Art and Faith, London, 1985, no. 146. Also, compare with the three other closely related examples in von Schroeder, Indo-Tibetan Bronzes, 1981, no. 14A, C, and D.