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1. Manjusri India, Kashmir 8th/9th century Copper alloy Height: 5 5⁄8 in. (14.3 cm.) |
This important sculpture depicts Manjusri, one of the three central Bodhisattvas in the Buddhist pantheon, seated in lalitasana upon a waisted double-lotus base. Identified by his various attributes, including the rosary, manuscript, and blue lotus with cup-shaped flower, the Buddhist god of wisdom is child-like in appearance. His long spiral braids and tiger-claw necklace, a popular style for young boys in ancient India, highlight the deity’s youth. A sheer dhoti is secured below his slightly swollen abdomen, and a pleated scarf is wrapped between his bent arms. Meandering across Manjusri’s bare torso, a double-stranded meditation cord symbolizing purity marks his status as a member of the Brahmin caste.[1] As is often the case with Buddhist bronzes, the base of the present example bears a Sanskrit inscription on both front and verso stating that the image was the pious gift of Sutradevi.[2] Beautifully cast, the sculpture exhibits a strong Kashmiri aesthetic; the full fleshy cheeks, large silver-inlaid eyes,[3] and elongated proportions are typical of bronzes from the region which is known for having been a significant center of metal casting. In fact, portable bronzes from Kashmir were dispersed throughout Tibet, China and Central Asia, and their influence upon works from these regions was profound. Provenance: Christian Humann (Pan-Asian Collection) Exhibited: Formerly on loan to the Los Angeles County Museum of Art Published: Pal, P., Bronzes of Kashmir, (New York, 1975), no. 55. Pal, P., “Kashmir-Style Bronzes and Tantric Buddhism,” Annali dell’Istituto Orientale di Napoli, vol. 39, (Naples, 1979), fig. 12. Pal, P., Art and Architecture of Ancient Kashmir, (Bombay, 1989), fig. 13. [1] Brahmins are often featured in Buddhist canonical texts, and are found among the chief disciples of the Buddha. [2] See Pal (1975), p. 154. [3] Kashmiri artists had a great penchant for inlaying silver and copper in order to enrich the surface of their metal sculptures. See Pal (2007), p. 87. |