A Magnificent Gilt Copper Alloy Figure Depicting Vajrasattva

Private European collection, early 1970s

"Arte Sagrado de las Tradiciones Indicas: hinduismo, budismo y jainismo", Fundació Caixa de Girona, March 18—May 1, 2005 and Casa Asia, Barcelona, May 24—July 20, 2005

Arte Sagrado de las Tradiciones Indicas: hinduismo, budismo y jainismo, Barcelona, 2005, cat. no. 36

Large format Tibetan sculpture, such as this magnificent figure depicting Vajrasattva, is exceptionally rare. A remarkable example of medieval Central Tibetan metalwork, the present work represents the apex of style reached by the 14th/15th century. Displaying tremendous power and presence, this figure demonstrates the marriage of classical Nepalese and Tibetan sculptural elements in its luxuriant gilding, elegant beading and engraving, and delicate use of inlay of both glass and semi-precious stones in the regal jewels and headdress.

Vajrasattva is associated with the sambhogakaya and is invoked as a support for purification practices to dispel obstacles in tantric practice. Seated in vajraparyankasana, the bodhisattva holds a vajra in his raised right hand and a ghanta in his left hand resting at his lap. The low crown with beaded border is surmounted by a superbly rendered five-pointed crown with garuda ornament below the central jewel. The broad, square forehead is offset by the gentle curves of the face. The hair, piled high atop the head and secured with a vajra, cascades over the powerfully molded shoulders.

Vajrasattva’s hands and feet are gracefully executed with careful attention to detail, grasping the ritual implements with great finesse and ceremony. He wears a delicately incised dhoti, the fall of which lies draped between his legs, a stylistic trope inherited from Yongle period sculpture. The double lotus throne was modeled with careful attention to the wave details on the petal tips, the raised peaks between the lower petals, and the beading details above and below both foliate rows. In its fine and regal treatment, the sculpture radiates masterful opulence.

Compare the inlaid crown elements and vajra-tipped ushnisha; the broad forehead with inset rectangular turquoise urna; the elaborate necklace inlaid with semi-precious stones; and the double lotus throne to another large format 14th century bronze from Shalu Monastery in Central Tibet depicting the bodhisattva Vajradhara, see U. von Schroeder, Buddhist Sculpture in Tibet, 2001: Vol. II, Tibet & China, p. 963, pl. 231E.