659
A ZANABAZAR SCHOOL GILT ROSE COPPER FIGURE OF BUDDHA GAUTAMA FROM KHALKHA MONGOLS
17th - 18th Century

H: 22 cm
W: 15.5 cm

Estimate
2,800,000 - 3,600,000
92,800 - 119,300
720,000 - 925,000

Ravenel Spring Auction 2017

659

A ZANABAZAR SCHOOL GILT ROSE COPPER FIGURE OF BUDDHA GAUTAMA FROM KHALKHA MONGOLS
17th - 18th Century


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PROVENANCE:
Private collection, Europe
Catalogue Note
A Zanabazar School Gilt Rose Copper Figure
of Buddha Gautama from Khalkha Mongols
17th - 18th Century

Buddha Dīpankara signifies the “Lamp Bearer”. According to some Buddhist traditions, Dīpankara was a Buddha who reached enlightenment eons prior to Gautama Buddha, the historical Buddha, and when he was born the world was lightened and hence the name. Buddha Dipankara, who is believed to have lived for 100,000 years, is one of the predecessors of the historical Buddha Gautama and is credited for setting the Wheel of Dharma in motion, thus marking the beginning of the Buddhist faith. Dipankara’s prophetic abilities are known from a jataka , stories that record events from the Buddha’s past lives, where the ascetic Sumedha, a past incarnation of Buddha Shakyamuni, offered to spread his hair and flowers on the ground for Dipankara to walk on and avoid the mud.

This elegant figure depicts Buddha Dipankara seated on a lotus petalled throne while making the gesture of Turning the Wheel of the Law (dharmachakramudra). He is wearing a shawl with foliate hem over his left shoulder revealing a bare chest and bare right arm, with serene facial expression framed by pendulous ears, the hair gathered in tight curls surmounted by a domed ushnisa , inscribed on the underside with an undecipherable character. The torso is portrayed with emphasized muscles, influenced by Nepali styles. Demonstrating a unique aesthetic of both physical and mental power, this is a superb example of the craftsmanship and elegance of pieces from the ateliers founded by Zanabazar (1635—1723), the renowned Mongolian master craftsman, artist and religious leader. The lithe and youthful treatment of the body, distinctive facial characteristics such as high foreheads, finely arched eyebrows and wide-bridged aquiline noses are all hallmarks of such works. This is undoubtedly a greatly worthy addition to any collection of Mongolian Buddhist artworks.
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