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Lot Essay
This gilt copper alloy figure depicts Vajradhara, the Primordial Buddha who personifies the ultimate truth body of enlightenment and serves as the progenitor of the Tantric system. The sculpture features Vajradhara seated in the meditative dhyanasana posture. His hands cross over his chest in the vajrahumkara mudra, holding a vajra (thunderbolt) and a ghanta (bell) to represent the inseparable union of wisdom and skillful compassion.
Stylistically, this masterwork follows the distinct mid-fifteenth century Tibetan traditions associated with the legendary artist Sonam Gyaltsen and his atelier. Until recently, the identity of this individual remained unknown to modern art historians. However, a key breakthrough occurred when Jeff Watt deciphered an inscription on a seminal bronze of a Thousand-Armed Avalokiteshvara (Bonhams, New York, 19 March 2018, lot 3033). That historical text directly documented Gyaltsen's name and period of active production.
The attribution of this Vajradhara figure relies on exact material and morphological parallels with other examples from the atelier of Sonam Gyaltsen. Comparative subjects include the aforementioned Avalokiteshvara Sahasrabhuja Ekadasamukha, Guhyamanjuvajra and Vajrabhairava housed in the Rietberg Museum in Zurich (H. Uhlig, On the Path to Enlightenment, 1995, pp. 168-71, no. 113-114). A diagnostic hallmark of Gyaltsen's hand is the treatment of the double-lotus throne. He completes the lotus petals completely in the round. He carves a symmetrically curling, remarkably plump inner corolla directly over swelled outer petals that terminate in crisp, pointed tips.
Furthermore, the finely rendered facial features and tightly restrained jewelry choices show parity across these works. Similarly, the lower edges of the lotus base and the folds of the dhoti show light, precise decorative engraving. This signature incised detailing closely mirrors the fabric work seen on an Amitayus bronze (Bonhams, Paris, 12 June 2023, lot 117P). It provides definitive evidence of Gyaltsen’s specialized stylistic tradition.
Stylistically, this masterwork follows the distinct mid-fifteenth century Tibetan traditions associated with the legendary artist Sonam Gyaltsen and his atelier. Until recently, the identity of this individual remained unknown to modern art historians. However, a key breakthrough occurred when Jeff Watt deciphered an inscription on a seminal bronze of a Thousand-Armed Avalokiteshvara (Bonhams, New York, 19 March 2018, lot 3033). That historical text directly documented Gyaltsen's name and period of active production.
The attribution of this Vajradhara figure relies on exact material and morphological parallels with other examples from the atelier of Sonam Gyaltsen. Comparative subjects include the aforementioned Avalokiteshvara Sahasrabhuja Ekadasamukha, Guhyamanjuvajra and Vajrabhairava housed in the Rietberg Museum in Zurich (H. Uhlig, On the Path to Enlightenment, 1995, pp. 168-71, no. 113-114). A diagnostic hallmark of Gyaltsen's hand is the treatment of the double-lotus throne. He completes the lotus petals completely in the round. He carves a symmetrically curling, remarkably plump inner corolla directly over swelled outer petals that terminate in crisp, pointed tips.
Furthermore, the finely rendered facial features and tightly restrained jewelry choices show parity across these works. Similarly, the lower edges of the lotus base and the folds of the dhoti show light, precise decorative engraving. This signature incised detailing closely mirrors the fabric work seen on an Amitayus bronze (Bonhams, Paris, 12 June 2023, lot 117P). It provides definitive evidence of Gyaltsen’s specialized stylistic tradition.