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Lot Essay
This refined casting of Vairochana exemplifies the sophisticated and enigmatic aesthetic of the Khasa Malla kingdom during the early 14th century. Though modest in scale, the sculpture radiates an imposing presence, combining spiritual authority with technical mastery.
The work is preserved in exceptional condition and was likely used as a personal devotional object. It bears all the hallmarks of Khasa Malla sculpture, most notably in its intricately rendered double-lotus base. The concentric lotus petals swell outward in deep, layered relief, each broad petal inset with a smaller, jewel-like motif. This distinctive design is found in only a select group of Khasa Malla works and closely resembles the figure of Nairatmya in the Los Angeles County Museum of Art (M.85.221), dated to the first quarter of the 14th century (Casey and Denwood, Tibetan Art: Toward a Definition of Style, 1997, p. 74, no. 52). The strong stylistic parallels between the two suggest a contemporaneous origin.
Further support for this dating comes from an inscribed figure of Shadaksari, formerly in the Yuri Khokholov Collection (Bonhams, Hong Kong, 23 July 2020, lot 848), which features an identical lotus base, reflectively stylized facial features, and muscular physique. These traits, particularly the face and corporal treatment of the Vairochana and Shadakshari, are also present in the figure of Queen Dipamala from the National Museum of Asian Art, Washington, D.C. (F1986.23), believed to represent the wife of King Pritivi Malla. Taken together, these affinities suggest this bronze may belong to a royal subgroup of sculptures produced under, or contiguous to, Pritivi Malla’s reign.
Two additional gilt bronzes, a Bhaisajyaguru (Sotheby’s, Paris, 23 June 2016, lot 137) and a Manjushri (Koller, Zurich, 13 June 2017, lot 111), are also likely part of this group. All five works display a shared aesthetic and exceptional craftsmanship, standing among the finest known Khasa Malla sculptures of their scale.
Vairochana’s powerful expression is emphasised by a broad, boldly defined face, an echo of the Newari aesthetic that heavily influenced Western Himalayan sculpture of this era. His taut, smooth torso, with subtly defined musculature, conveys a sense of inner vitality and strength. The lower robe falls in an elegantly articulated, fan-shaped arrangement between the legs, rendered with a rare double-layered treatment that adds rhythmic complexity to the composition.
Finely observed details throughout the figure further attest to the remarkable skill of the Khasa Malla atelier. The robe’s hemline is incised with a delicate rice-grain pattern, lending subtle texture and refinement. The hands are particularly elegant, with slender fingers and finely articulated joints, while the feet are naturalistically rendered, the toes gracefully splayed in lifelike fashion.
Although compact in scale, this sculpture encapsulates the monumental vision of Buddhist art produced under the patronage of the Khasa Malla kings. It stands as a superb example of the kingdom’s synthesis of Newar craftsmanship and local innovation, capturing a moment of artistic brilliance at the intersection of Himalayan and Indian visual cultures.
The work is preserved in exceptional condition and was likely used as a personal devotional object. It bears all the hallmarks of Khasa Malla sculpture, most notably in its intricately rendered double-lotus base. The concentric lotus petals swell outward in deep, layered relief, each broad petal inset with a smaller, jewel-like motif. This distinctive design is found in only a select group of Khasa Malla works and closely resembles the figure of Nairatmya in the Los Angeles County Museum of Art (M.85.221), dated to the first quarter of the 14th century (Casey and Denwood, Tibetan Art: Toward a Definition of Style, 1997, p. 74, no. 52). The strong stylistic parallels between the two suggest a contemporaneous origin.
Further support for this dating comes from an inscribed figure of Shadaksari, formerly in the Yuri Khokholov Collection (Bonhams, Hong Kong, 23 July 2020, lot 848), which features an identical lotus base, reflectively stylized facial features, and muscular physique. These traits, particularly the face and corporal treatment of the Vairochana and Shadakshari, are also present in the figure of Queen Dipamala from the National Museum of Asian Art, Washington, D.C. (F1986.23), believed to represent the wife of King Pritivi Malla. Taken together, these affinities suggest this bronze may belong to a royal subgroup of sculptures produced under, or contiguous to, Pritivi Malla’s reign.
Two additional gilt bronzes, a Bhaisajyaguru (Sotheby’s, Paris, 23 June 2016, lot 137) and a Manjushri (Koller, Zurich, 13 June 2017, lot 111), are also likely part of this group. All five works display a shared aesthetic and exceptional craftsmanship, standing among the finest known Khasa Malla sculptures of their scale.
Vairochana’s powerful expression is emphasised by a broad, boldly defined face, an echo of the Newari aesthetic that heavily influenced Western Himalayan sculpture of this era. His taut, smooth torso, with subtly defined musculature, conveys a sense of inner vitality and strength. The lower robe falls in an elegantly articulated, fan-shaped arrangement between the legs, rendered with a rare double-layered treatment that adds rhythmic complexity to the composition.
Finely observed details throughout the figure further attest to the remarkable skill of the Khasa Malla atelier. The robe’s hemline is incised with a delicate rice-grain pattern, lending subtle texture and refinement. The hands are particularly elegant, with slender fingers and finely articulated joints, while the feet are naturalistically rendered, the toes gracefully splayed in lifelike fashion.
Although compact in scale, this sculpture encapsulates the monumental vision of Buddhist art produced under the patronage of the Khasa Malla kings. It stands as a superb example of the kingdom’s synthesis of Newar craftsmanship and local innovation, capturing a moment of artistic brilliance at the intersection of Himalayan and Indian visual cultures.