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Lot Essay
The dakini or 'sky walker' is a feminine initiator to spiritual liberation. In esoteric Tibetan Buddhism they play an important role and are often linked to important deities whom they assist in their spiritual practices. Alone, these young goddesses are mainly depicted in dancing posture. Although most dakinis are shown terrifying with wrathful expressions, the presented one has a graceful appearance, almost with a seductive radiance. Her elegant pose of elongated proportions and friendly facial expression enhance this aspect. Her peaceful aspect is emphasized by the blue coloured hair-dress instead of the more common red colour for horrifying examples. As her attributes are missing it is difficult to establish her iconographic identity. Nathalie Bazin suggested that the upper hands could have carried the drum and bell to accompany herself during dance performances. Both other hands display the granting-wishes (varada) and menacing (tarjani) gestures. Dakinis with four arms are rare in comparison to examples showing two arms, likewise its large size.
The style is based on twelfth to thirteenth century Pala examples from Northeast India. Its revival style became popular in the eighteenth century and many examples were made for followers of Tibetan Buddhism. The highest quality bronzes in the Pala revival style, like the presented dakini, were most likely cast in China, whether at foundries in Beijing or Chengde.
A comparable large four-armed dakini example is published by Hung Shih Chang and Jessica P.P. Hsu (eds.) in 'Buddhist Art from Rehol: Tibetan Buddhist images and ritual objects from the Qing dynasty Summer Palace at Chengde' , Publishing Company Jeff Hsu's Oriental Art, Taipei 1999, no. 60. Another large four-armed dakini is illustrated by D. Ashencaen and G. Leonov in 'Light of Compassion: Buddhist Art from Nepal and Tibet', Spink & Son, London 1997, no. 21.
The style is based on twelfth to thirteenth century Pala examples from Northeast India. Its revival style became popular in the eighteenth century and many examples were made for followers of Tibetan Buddhism. The highest quality bronzes in the Pala revival style, like the presented dakini, were most likely cast in China, whether at foundries in Beijing or Chengde.
A comparable large four-armed dakini example is published by Hung Shih Chang and Jessica P.P. Hsu (eds.) in 'Buddhist Art from Rehol: Tibetan Buddhist images and ritual objects from the Qing dynasty Summer Palace at Chengde' , Publishing Company Jeff Hsu's Oriental Art, Taipei 1999, no. 60. Another large four-armed dakini is illustrated by D. Ashencaen and G. Leonov in 'Light of Compassion: Buddhist Art from Nepal and Tibet', Spink & Son, London 1997, no. 21.