A LARGE GILT COPPER ALLOY FIGURE OF SHAKYAMUNI BUDDHA TIBET, 14TH CENTURY

finely cast in the form of Shakyamuni Buddha seated in vajraparyankasana on a double-lotus base with beaded edges, the right hand held in bhumisparsha mudra and the left in dhyana mudra, dressed in a robe draped loosely over the left shoulder partially revealing the chest, the hems and borders of the garment finely detailed with a beaded border, the serene face rendered with a meditative expression beneath an urna and flanked by long pendulous earlobes pierced with vertical slots, all beneath the domed ushnisha covered with tight curls and surmounted by a jewel, brilliantly gilded throughout, the base sealed and incised with a visvavajra

As visible in the catalogue photos, there is rubbing to the gilding. Larger areas of rubbing on the back of the figure. Minor dents and bruises to the foot.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The iconographic form in which the historical Buddha is seated, with his right hand in the earth-touching position, bhumisparsha mudra, recalls a momentous episode from his spiritual biography in which he triumphs over Mara just prior to his enlightenment. Having vowed to remain in meditation until he penetrated the mystery of existence, Shakyamuni was visited by Mara, a demon associated with the veils and distractions of mundane existence. The Buddha remained unmoved by all the pleasant and unpleasant distractions with which Mara sought to deflect him from his goal.

According to some traditional accounts, Mara's final assault consisted of an attempt to undermine the bodhisattva's sense of worthiness by questioning Shakyamuni's entitlement to seek the lofty goal of spiritual enlightenment and the consequent freedom from rebirth. Aided by spirits who reminded him of the countless compassionate efforts he had made on behalf of sentient beings throughout his numerous animal and human incarnations, Shakyamuni recognised that it was his destiny to be poised on the threshold of enlightenment.

In response to Mara's query Shakyamuni moved his right hand from the meditation position in his lap and touched the ground stating "the earth is my witness". This act of unwavering resolve caused Mara and his army of demons and temptresses to disperse, leaving Shakyamuni to experience his great enlightenment. The episode took place at the adamantine throne, vajrasana, beneath the bhodi tree at Bodh Gaya, eastern India, a location said to have been especially empowered to expedite the Buddha's enlightenment.

The Nepalese influence is strongly demonstrated in the wide forehead with straight hairline, the gilt domed ushnisha, inlaid urna, the short neck, the broad and muscular shoulders with torso narrowing to a defined waist. Compare the elegant hem, drape and twist of the Buddha's sanghati along the upper arm and body with left shoulder exposed, with fourteenth century bronzes from the Nepalese school in Tibet, as illustrated by Ulrich von Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2001, vol. II, pp. 962-3, figs. 231A and 231C.

A closely related but smaller 14th century gilt copper alloy figure of Shakyamuni Buddha was sold in our New York rooms, 17th March 2015, lot 1030.