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Lot Essay
Elegantly cast and richly adorned, this exquisite figure of Vasudhara, the bodhisattva of abundance and prosperity, exemplifies the sophistication of 11th-century Nepalese sculpture. Rendered in gilt copper alloy, the goddess is seated in lalitasana, her slightly curving posture matches her relaxed posture and the fluid articulation of her limbs. Her six arms, emblematic of her supernormal attributes, are arranged in a balanced rhythm: one holds a manuscript (pustaka), another a sheaf of grain (dhanya), and another a water vessel (kamandalu), all of which signify the goddess’s bestowal of spiritual and material wealth.
Single leaf tall crown is flanked by thin beaded brackets and a pair of radial hair buns, reflecting the cosmopolitan style of the day and it’s also found in another Vasudhara in von Schroeder, Buddhist Sculpture in Tibet, Vol. I, Hong Kong, p. 172, no. 172C. Although this is suggested to date from 13th century, there are clear connection to the 11th century evident in the high armbands and crown configuration as seen in standing Tara (ibid, p. 489, nos. 155C-E).
What distinguishes the present example is the extraordinarily smooth, lustrous surface, particularly over the cheeks, chest, and arms, polished to a deep, golden sheen by centuries of ritual handling and devotional anointment. This velvety patina, developed through repeated consecration and offering, imbues the sculpture with a powerful sense of sanctity and presence, bearing tangible witness to its long life within a sacred context.
The modelling reflects the idealised feminine canon of the Licchavi and early Malla periods: the full, high breasts; narrow waist; and rounded thighs create a sensuous yet poised figure, characteristic of 11th-century Nepalese depictions of divine femininity. Her serene expression, with gently arched brows, downcast eyes, and softly smiling lips, conveys a quiet introspection, while her ornate jewellery and elaborate crown, cast with remarkable precision, further emphasise her celestial status.
This sculpture belongs to a rare group of early Nepalese bronzes produced in the Kathmandu Valley during the transitional period between the Licchavi and early Malla dynasties, distinguished by their refined casting, subtle modelling, and delicate surface treatment. Comparable examples can be found in major institutional collections, including a Vasudhara in the Norton Simon Museum, Pasadena (inv. no. F.1975.08.02.S), and another published in The Sculptural Heritage of Nepal: Art from the Kathmandu Valley by Pratapaditya Pal (Marg Publications, 1986, p. 83, fig. 68). A closely related figure in the Los Angeles County Museum of Art (M.72.2.1) also shares the same sculptural vocabulary, including the slender proportions, refined adornment, and calm facial features.
Works of this quality and rarity are seldom seen on the market. The present lot not only represents a pinnacle of early Nepalese metal sculpture but also serves as a deeply moving object of living devotion.
Single leaf tall crown is flanked by thin beaded brackets and a pair of radial hair buns, reflecting the cosmopolitan style of the day and it’s also found in another Vasudhara in von Schroeder, Buddhist Sculpture in Tibet, Vol. I, Hong Kong, p. 172, no. 172C. Although this is suggested to date from 13th century, there are clear connection to the 11th century evident in the high armbands and crown configuration as seen in standing Tara (ibid, p. 489, nos. 155C-E).
What distinguishes the present example is the extraordinarily smooth, lustrous surface, particularly over the cheeks, chest, and arms, polished to a deep, golden sheen by centuries of ritual handling and devotional anointment. This velvety patina, developed through repeated consecration and offering, imbues the sculpture with a powerful sense of sanctity and presence, bearing tangible witness to its long life within a sacred context.
The modelling reflects the idealised feminine canon of the Licchavi and early Malla periods: the full, high breasts; narrow waist; and rounded thighs create a sensuous yet poised figure, characteristic of 11th-century Nepalese depictions of divine femininity. Her serene expression, with gently arched brows, downcast eyes, and softly smiling lips, conveys a quiet introspection, while her ornate jewellery and elaborate crown, cast with remarkable precision, further emphasise her celestial status.
This sculpture belongs to a rare group of early Nepalese bronzes produced in the Kathmandu Valley during the transitional period between the Licchavi and early Malla dynasties, distinguished by their refined casting, subtle modelling, and delicate surface treatment. Comparable examples can be found in major institutional collections, including a Vasudhara in the Norton Simon Museum, Pasadena (inv. no. F.1975.08.02.S), and another published in The Sculptural Heritage of Nepal: Art from the Kathmandu Valley by Pratapaditya Pal (Marg Publications, 1986, p. 83, fig. 68). A closely related figure in the Los Angeles County Museum of Art (M.72.2.1) also shares the same sculptural vocabulary, including the slender proportions, refined adornment, and calm facial features.
Works of this quality and rarity are seldom seen on the market. The present lot not only represents a pinnacle of early Nepalese metal sculpture but also serves as a deeply moving object of living devotion.