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$89.00 Shipping Location: Thailand Bronze Female Deity 'Uma', Prakhon Chai, Buriram Province. Pre-1800's. Origin: xxxxxxxxx Prakhon Chai Temple District, Buriram Province, Thailand. The ... moreright hand holds a lotus bud, and the left hand is broken off at the elbow.
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BUDDHA: Antique Chiang Saen from Thailand, Bronze Parcel Gilt, late 1800's
BUDDHA: Antique Chiang Saen from Thailand. Bronze Parcel Gilt. Late 1800's If you set your monitor at FULL SCREEN from TOOLS. You will be better able to view the photos. This is very fine example of an image of the Lord Buddha in the Chiang Saen(also transliterated as Chieng Saean) or Lanna style. Cast in bronze by the lost wax process and gilded in Thailand in the late 1800's. Chiang Saen was the capital in the ancient Kingdom of Lanna. From the 13th to the 18th centuries, in what is now northern Thailand. In the 15th Century, Lanna emerged strong enough to rival the neighboring Ayutthaya kingdom with whom great wars were fought. But eventually Lanna weakened and fell under Burmese control in the 16th Century, and was ruled as a tributary by successive puppet kings appointed by the Burmese rulers until the middle of the 18th Century, ... morewhen it was broken up into even smaller tributary kingdoms. T he Chiang Saen or Lanna style was influenced by the styles of the Khmer and the Sukhothai. And of India, Burma and Sri Lanka. Images of the Lord Buddha in this style typically feature a lotus bud or orb shaped finial on top of the usnisha instead of the ketumala. Or lambent flame. Seen especially in Sukhothai images. The torso is usually plump, with a slim waist line and the face, round and smiling, with high curving highbrows and half closed, down cast eyes. We see all of these elements in our present Buddha. Our Buddha is seated on a simple plinth in the half-lotus posture.This is also called the'hero posture' or virasana( paryankasana virasana) He holds both of his hands in his lap. Right hand over the left in sammasamadhi. The mudra or gesture of complete balance in meditation. The gilding on this figure is slightly unusual for this type of Buddha; however. It may have been added later, as was the custom, either in petition or in thanksgiving directed through a particularly beloved image. The rest of the un-gilded figure has the most wonderful and complex patina of rich chocolate browns with green unde
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BUDDHA: Antique Tibetan Healing Buddha Enthroned, Gilt Bronze, late 1800's
BUDDHA: Antique Tibetan Healing Buddha Enthroned. Gilt Bronze, late 1800's If you set your monitor at FULL SCREEN from TOOLS you will be better able to view the photos. This is a magnificent. Beautiful and venerable figure of the Healing Buddha enthroned on clouds and supported by two Dragons, backed by a flaming torana. He was cast in bronze by the lost wax process and gilded in Tibet sometime in the late 1800's His full title in Tibetan is Bhaisajyaguru vaiduryaprabha tathagata. The Radiant Lapis Lazuli Master of Healing Buddha" He is revered in the Mahayana Buddhism of Tibet as the supreme dispenser of longevity. Protection from disasters and the transmutation of negative states of mind, as all illnesses in Buddhism, by virtue of their karmic origin are considered, to some extent, psychosomatic. Bhaisajyaguru is typically ... moredepicted seated. Wearing the simple robes of a Buddhist monk, holding a jar of medicine nectar in his left hand and the right hand resting on his right knee, holding the stem of the Aruna fruit or Myrobalan between thumb and forefinger. But not always. Our Buddha is seated holding a jar of healing nectar in the middle of his lap with his left hand, while his right hand rests on his knee. Southeast Asian artists are notable for the freedom with which they portray the various aspects of the Buddha. What is essential in a medicine Buddha is the jar of healing, the plant is often missing as in the following two examples: Healing Buddha in Toji Temple Standing Buddha in a private collection Our Buddha also has a spiral urna on his forehead. Symbolic of a kind of third eye with which he is able to see past this universe of suffering, samsara. Into the world of enlightenment. He also has a ketumala. Or flame, atop his coiffure, indicative of the wisdom which shines forth from him. But the aspect of this figure which makes it truly spectacular is the setting in which Our Buddha meditates. He sits on a moon disk supported by a waisted drum shape covered with stylized cloud designs. This i
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BUDDHA: Antique Tibetan White Tara, Gilt Bronze, late 1800's, Exquisite Patina
BUDDHA: Antique Tibetan White Tara. Gilt Bronze, late 1800's, Exquisite Patina This is an extraordinarily beautiful statue of Sitatara(White Tara) in gilded bronze cast in Tibet using the lost wax process. Probably dating to the late 1800's. She may be earlier, but I do not think she is later than 1900. There are twenty-one forms of Tara. Each one associated with a different color and specific qualities. The two most important are Green Tara and White Tara. White Tara/Sarasvati is the goddess of longevity who counteracts illness. Thereby helping to bring about a long life. She embodies compassion and is said to be as white and radiant as the moon. One etymology of her name is that it is derived from the Sanskrit Tar. Which means"to cross over" she is one who helps sentient beings cross over from mere worldly existence. Introduced ... moreinto Tibetan Buddhism in the seventh century. Tara has become by far the most popular deity in Tibet ever since. She is a female bodhisattva(a"wisdom being" or enlightened one" and a meditation deity. Believed to have been born from the compassionate tear of Avalokitesavara(from the Sanskrit, lit: Lord who looks down" a bodhisattva who embodies the compassion of all Buddhas. She vowed to remain in female form until all beings were liberated. Tara also embodies many of the qualities of the feminine principle. She is known as the Mother of Mercy and Compassion. She is the source. The female aspect of the universe, which gives birth to warmth, compassion and relief from bad karma as experienced by ordinary beings in cyclic existence. She engenders, nourishes, smiles at the vitality of creation, and has sympathy for all beings, as a mother does for her children. As White Tara she offers succor and protection from all the unfortunate circumstances one can encounter within the samsaric world. The world of suffering and cyclic birth and rebirth, the antithesis of Nirvana. Another quality of the feminine principle which she shares with the dakinis. Tantric d
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BUDDHA: Antique Tibetan Maitreyia."The Loving Friend", Gilded Bronze,late 1800's
BUDDHA: Antique Tibetan Maitreyia.The Loving Friend" Gilded Bronze. Late 1800's This is beautiful and venerable image of the Buddha Maitreya. Cast in bronze using the lost wax process and gilded in Tibet sometime in the late 1800's The Buddha Maitreya is the Buddha of the future.He is the one to follow the historical Buddha Sakyamuni. He waits for the moment he is to appear on earth as the Buddha of the fifth world cycle. At present, he is considered as one of the dhyani-Bodhisattvas, the creators of the universe. In the future, he will be like Sakyamuni, a mortal manusi Buddha who lives on earth for a while in order to teach mankind. The name Maitreya( Metteyya in Pali) is derived from the Sanskrit word maitri(Pali: metta) meaning"loving-kindness" Which is in turn derived from the noun mitra(Pali: mitta) in the sense ... moreof"friend" This"Loving Friend" is widely venerated in the Himalayan regions. Maitreya is typically pictured seated. With either both feet on the ground or crossed at the ankles, on a throne, waiting for his time. Our Buddha is seated on beaded moon disk supported by a beautiful footed lotus petal throne. He is seated in vajra-paryankasana. Or the full lotus position. Which is the asana. Or posture, usually reserved for images of the Buddha after his enlightenment. He hold his hands in Dharmachakra Mudra, the mudra. Or gesture. Of teaching, usually interpreted as" Turning the Wheels of the Law" The hands are held in front of his chest. The thumbs and index fingers forming circles. Significantly. In this mudra, the hands are held in front of the heart, symbolizing that these teachings are straight from the Buddha's heart This image of the Buddha Maitreya is 6 inches tall. The diameter of the foot of the lotus throne is 3 3/8 inches inches. On the whole this figure is in very good condition. There are some expected small dings here and there. But no serious damage. The nimbus and lotus throne were gilded but much of the gilding is worn away. The
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BUDDHA: Antique Shakyamuni from Ceylon, Bronze, late 1800's, Beautiful Patina
BUDDHA: Antique Shakyamuni from Ceylon. Bronze, late 1800's. Beautiful Patina This is a venerable and beautiful image of the Lord Buddha cast in Bronze in Ceylon sometime in the late 1800's. He may be earlier. But I do not think he is later. The island nation to the southeast of the Indian subcontinent is now called Sri Lanka. And the majority of its citizens are Theravada Buddhists. Much of its sacred art does show significant influence from both Indian and Southeast Asian art. But there are significant differences, many of which are visible in our present Buddha. He sits in Virasana. Or the half lotus position, without any support or throne, unlike most images from the mainland. He holds his hands in Dyhana Mudra. The mudra. Or gesture, of complete balance in meditation. Many images of the Buddha from Ceylon have a more masculine ... moreappearance with broad shoulders. Slim waists and full faces, as our Buddha does. They also often have different coiffures. Our Buddha does not have the distinctive snail curls which you see in almost all images from other countries. Instead, he has a linear, combed back" hair style, which is very elegantly achieved with delicately incised lines forming a beautiful pattern on the back of his head. Our Buddha does have a ketumala. Or lambent flame atop his ushnisha. Or top knot. But both his ketumala and ushnisha are less elaborate than other styles of Buddhist art. This has the effect of drawing more attention to his face. Which is beautifully modeled, with high arched eye brows, strong nose and full lips. These characteristics. At least to my eyes, seem to make our Buddha more human, less"other worldly" and, therefore, more accessible. This Buddha is 7 inches tall. 5 inches wide at his knees and 2 1/2 inches from back to front. He has no significant damage. There is some accumulated"shmutz" a highly acceptable term of art) in some of the crevices of the figure, which I think is best left alone. The bottom of the figure is open and the tempered core of s
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BUDDHA: Antique Sukhothai Enthroned, Gilded & Painted Bronze, Late 1800's
BUDDHA: Antique Sukhothai Enthroned. Gilded& Painted Bronze. Late 1800's This is an extraordinarily handsome and elegant statue of the Lord Buddha cast in bronze by the lost wax process. Gilded and painted in Thailand in the late 1800's. Although created at a later time, this figure reflects some of the traditions of the Sukhothai style, named after the kingdom centered around the city of Sukhothai in northern Thailand, which lasted from 1238 to 1438. Sukhothai" can be translated as"The Dawn of Happiness In general. The Sukhothai style is characterized by a ketumala. A large flame finial on the top of the head and above the usual top knot(the ushnisha) indicating the heightened spiritual awareness and transcendent wisdom of the Lord Buddha. The head is covered with fine curled hair. The face is oval. With high curving ... moreeyebrows, a downward gaze, and displays overall a gently smiling expression. The body of the Buddha usually has broad shoulders and a small waist. Sukhothai images show idealistic or superhuman characteristics, and, as with so much of Southeastern Asian art, the intent of the artist is to portray a spiritual serenity merged with a human form, rather than a realistic representation of the Buddha's actual body. All of these elements are present in our Buddha. Many art historians consider the Sukhothai style. With its refined, elegant lines and proportions, to be the very acme of Thai sculpture. Our Buddha is an example par excellence of this refined elegance. Our Buddha is seated in Marivijava. The position of meditation in which prince Gautama achieved enlightenment and subdued Mara, a kind of evil spirit who tempted him to abandon his search for wisdom. He sits in the half-lotus posture( Ardha Padmasana) with legs crossed. The left hand resting in his lap, palm upward and his right hand in Bhumisparsa Mudra, outstretched and touching the ground lightly. Calling the earth to witness his rejection of the evils presented by Mara, and recognizing that he himself and all things
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BUDDHA: Antique Chiang Saen Head from Thailand, Gilded Bronze, late 1800's
BUDDHA: Antique Chiang Saen Head from Thailand. Gilded Bronze. Late 1800's This is an extraordinarily handsome and suggestive head of the Lord Buddha cast in bronze by the lost wax process and partially gilded in Thailand. Most likely sometime in the late 1800's. He could be earlier, but I doubt that he is much later. Although created at a much later time. This figure generally reflects the traditions of the Chiang Saen style. Chiang Saen images were created in northern Thailand between the tenth and thirteenth centuries. Early images were similar to the Pala style Buddha images of India. With a lotus bud or orb surmounting the ushnisha. Or top knot, snail shaped hair curls, round faces, narrow lips and prominent chests. Such images were usually in the subduing Mara position, cross-legged, with the soles of the Buddha's feet visible. ... moreMany later Chiang Saen images were carved from crystals and gemstones. The following image is a good example of the Chiang Saen style: Judging by the irregular and jagged bottom edge of the neck of our head. It was most likely removed from a larger statue, like the one above, probably of the Lord Buddha seated in Marivijava. The position of meditation in which prince Gautama achieved enlightenment and subdued Mara. It is the most frequently used assana or posture in most of Thai art and in the Chiang Saen style in particular. The two things I love most about this head of the Lord Buddha are his beautiful patina and gentle expression. The face and orb were gilded. But much of the gilding has naturally been worn away revealing the old bronze beneath. The delicately modeled snail curls of the coiffure were not gilded. The combination of the flashing of the remaining gold with the grey/green of the coiffure makes for an exquisite patina. And the consummately gentle expression on the Lord Buddha's face is one of absolute peace and calm. Which seems to me to be alternately smiling or or slightly melancholy, depending on the angle of viewing. The head itself is 7 1/2 inches
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BUDDHA:Antique Chiang Saen Vitarka Mudra, Bronze w Traces of Gilding, late 1800
BUDDHA:Antique Chiang Saen Vitarka Mudra. Bronze with Traces of Gilding. Late 1800's This is very fine and venerable image of the Lord Buddha more or less in the Chiang Saen or Lanna style. Cast in bronze by the lost wax process and gilded in Thailand in the late 1800's. Chiang Saen was the capital in the ancient Kingdom of Lanna. From the 13th to the 18th centuries, in what is now northern Thailand. In the 15th Century, Lanna emerged strong enough to rival the neighboring Ayutthaya kingdom with whom great wars were fought. But eventually Lanna weakened and fell under Burmese control in the 16th Century, and was ruled as a tributary by successive puppet kings appointed by the Burmese rulers until the middle of the 18th Century, when it was broken up into even smaller tributary kingdoms. T he Chiang Saen or Lanna style was influenced ... moreby the styles of the Khmer and the Sukhothai. And of India, Burma and Sri Lanka. Images of the Lord Buddha in this style typically feature a lotus bud or orb shaped finial on top of the ushnisha. Or top knot, instead of the ketumala. Or lambent flame. Seen especially in Sukhothai images. The torso is usually plump, with a slim waist line and the face, round and smiling, with high curving highbrows and half closed, down cast eyes. We see all of these elements in our present Buddha. Except for the differences in his coiffure, which more closely resemble the Gandaharan style with the hair pulled back and no orb atop the spiral ushnisha. Our Buddha is seated on a simple plinth in what is most correctly called the half-lotus posture. Other names used for this posture are: hero posture' or virasana( paryankasana virasana) He holds his left hand open in his lap. His right hand he holds in Vitarka Mudra. The mudra. Or gesture, of Teaching. His holds his hand at heart level, palm outward with the thumb and forefinger creating a circle. This mudra is also sometimes call the"Closing the Circle of he Law" This statue is 4 3/8 inches tall and 3 inches wide at the bottom of th
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BUDDHA: Antique Cambodian/Khmer Head, Gilded Bronze, late 1800's
BUDDHA: Antique Cambodian/Khmer Head. Gilded Bronze. Late 1800's This is a very handsome head of the Lord Buddha cast by the lost wax process in Cambodia sometime in the late 1800's. Judging from the jagged edge at the neck. This head was probably removed from a larger, probably standing, figure. Although made at a much later time. This figure reflects the traditions of the art made during the height of the Khmer hegemony from the sixth to the sixteenth centuries in that part of Southeast Asia we now call Cambodia. More specifically it recalls the art made under Jayavarman VII in the 15th century. Although a devout Buddhist himself. Jayavarman was known and revered for his kindness and compassion, building many hospitals and orphanages. He was also tolerant of other religions as evidenced by the combination of Buddhist and Hindu elements ... moreand symbols in the art of his time. Sculpture in the Bayon style(named for the main temple in Angkor) is marked by two seemingly opposed characteristics. Figures of the Lord Buddha are often shown wearing ornamented crowns or diadems similar to those worn by the Hindu deity,Vishnu, and adorned with ornate necklaces and belts. The intention was to portray the Buddha as a powerful universal monarch in keeping with contemporary images of Hindu gods. But there is also an intense spirituality in the expression of the figures which reflects the humility and compassion usually associated with Buddhism. Our figure of the Lord Buddha is not as heavily laden with royal accouterments as many Bayon style figures are. He does wear an elaborate diadem and heavy ear rings. This head is 6 1/2 inches tall and has no serious damage. There are two very small voids in the diadem visible only from inside. Which I take to be casting flaws. The face is gilded and the diadem has slight traces of color. The photos give a very good idea of this handsome head in the Bayon style from Cambodia. If you should have any questions at all. Please do not hesitate to contact me. And thanks for looking Due t
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Antique Bronze Deity Bod Manjushri Statue India Hindu circa Late 1800's to early
This bronze depicts one of the Hindu/Indian gods Bod Manjushri Posted with 2p5ddv.RcmdId ViewItemDescV4,RlogId p4%60bo7%60jtb9%3Fuk%601d72f%2B26rk%3E2p5ddv-144e2d5c010-0x138-
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BUDDHA: Antique Indonesian Head, Gilded Bronze, Late 1800's, Beautiful Patina
BUDDHA: Antique Indonesian Head. Gilded Bronze, Late 1800's. Beautiful Patina This is a very interesting and beautiful head of the Lord Buddha cast in bronze by the lost wax process and gilded in some part of the country we now call Indonesia. Judging by the jagged lower edge of the neck. This head was most likely removed from a larger, full sized figure of the Buddha, as many unfortunately were. I believe that the figure dates to the very late 1800's. He could be earlier, but I do not think he is much later than 1900. The tall. Attenuated ketumala. Or flame, on the very top of his ushnisha. Or top knot, is a typical Indonesian feature, as is the fullness of the Buddha's face, his open eyes, unequivocally broad smile and his relative youthfulness. He has an urna. Or round auspicious shape, on his forehead, which is symbolic of ... morea kind of third eye with which he is able to see past this universe of suffering, samsara. Into the world of enlightenment. Even though he has been rudely separated from his original context. I find this Buddha very beautiful in a quiet and cheerful manner. The head itself is 4 1/4 inches tall. He has a beautiful patina of worn gold over the underlying warm brown patina of the old bronze. The coiffure was never gilded Although this Buddha may be slightly unusual. I find his expression very affecting. The photos give an excellent idea of the beauty and finesse of this wonderful example of Indonesian Sacred art. If you should have any questions. Please don't hesitate to contact me. And thanks for looking. Due to limitations of photography and the inevitable differences in monitor settings. The color of the pictures on your monitor may be slightly different from the figure himself, but I did my best to capture him as he is. And, at least on my monitor, the color is a perfect match. The small black base is not part of this auction. Payment: Winning Bidders: please pay for your item within three days of this auction's close. Foreign Buyers: please request an invoice with actu
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BUDDHA: Antique Cambodian/Khmer Head of Jayavarman, Gilded Bronze, late 1800's
BUDDHA: Antique Cambodian/Khmer Head of Jayavarman. Gilded Bronze. Late 1800's This is a very interesting and handsome head of the Lord Buddha cast by the lost wax process in Cambodia sometime in the late 1800's. Judging from the jagged edge at the neck. This head was probably removed from a larger figure. Although made at a much later time. This figure reflects the traditions of the art made during the height of the Khmer hegemony from the sixth to the sixteenth centuries in that part of Southeast Asia we now call Cambodia. More specifically it recalls the art made under Jayavarman VII in the 15th century. Although a devout Buddhist himself. Jayavarman was known and revered for his kindness and compassion, building many hospitals and orphanages. He was also tolerant of other religions as evidenced by the combination of Buddhist and ... moreHindu elements and symbols in the art of his time. Sculpture in the Bayon style(named for the main temple in Angkor) is marked by two seemingly opposed characteristics. Figures of the Lord Buddha are often shown wearing ornamented crowns or diadems similar to those worn by the Hindu deity, Vishnu, and adorned with ornate necklaces and belts. The intention was to portray the Buddha as a powerful universal monarch in keeping with contemporary images of Hindu gods. But there is also an intense spirituality in the expression of the figures which reflects the humility and compassion usually associated with Buddhism. But our figure of the Lord Buddha is not adorned at all. In fact. It is a portrait of Jayavarman himself. There are many figures of this enlightened monarch and many resemble our present head: rounded face. Closed eyes, broad gentle smile, hair pulled back to a banded ushnisha. Or top knot: So what we have in our present head is the continuation of the tradition of identifying of Jayavarman. The wise and beloved, with the Lord Buddha himself. Almost as if to say, Do you want to know what the Lord Buddha was like? Well, he was like the great and beneficent Jayavarman. Ou
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BUDDHA: Antique Bhumisparsamudra from Laos, Gilded & Painted Bronze, late 1800's
BUDDHA: Antique Bhumisparsamudra from Laos. Gilded& Painted Bronze. Late 1800's This is a venerable and rather spectacular statue of a smiling. Enthroned Lord Buddha, cast in bronze, gilded and painted in Laos. It was taken out of that country before the interdiction of the export of antiquities was imposed in the'90's. I believe this Buddha dates to the late 1800's. He may be earlier, but I do not think he is later. He is 12 1/2 inches tall Laos is a landlocked nation situated between Thailand to the west and Vietnam to the east. And sharing shorter borders with Burma in the northwest and Cambodia in the south. As its position on the map of southeast Asia might suggest. The arts and culture of Laos were heavily influenced by early contacts between the Khmers of Cambodia and the Thais who eventually established Thailand. ... moreThe Buddhism practiced in Laos is of the Theravada tradition. Lao Buddhism is a unique version of Theravada Buddhism and is at the basis of Lao culture According to accepted Theravada Buddhist practice. Images of Gautama Buddha appear clothed in unadorned monk’s robes with his hair in small curls and his body devoid of jewelry. The continuity of this visual convention is emblematic of his renunciation of this world of desire and is a reminder of his having sacrificed his material heritage as a crown prince. Our Buddha is portrayed meditating in the seated position of Vajrasana. His left hand in dhyanamudra. The mudra of meditation, and his right hand in bhumisparsamudra. The mudra of calling the earth to witness his own enlightenment. This position is the most frequently depicted in Southeast Asian art as it is the moment when Prince Siddhartha becomes the Buddha, literally, The Awakened One" He sits upon waisted and paneled throne. The two horizontal sections of panels and the back of the throne have traces of red paint. The rest of the throne is gilded. As is the finial atop his ushnisha. Or topknot, the band under his coiffure and the hems of his garments. Much of the
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BUDDHA: Antique Sukhothai Enthroned, Sammasamadhi, Gilt Bronze, late 1800's, 10"
BUDDHA: Antique Sukhothai Enthroned. Sammasamadhi, Gilt Bronze. Late 1800's, 10" This is an exquisite and impressive statue of the Lord Buddha cast in bronze by the lost wax process and gilded in Thailand. I am not perfectly sure of the date of its creation. The previous owner believed it was from the early 1800's; I rather think it is from the late 1800's. Of course. The best we can hope to do with undocumented objects like this is to make informed suppositions. And I may be wrong; it may in fact be earlier, although I do not think it is much later than the late 1800's. In any case. Although created at a much later time, this figure reflects the traditions of the Sukhothai style, named after the kingdom centered around the city of Sukhothai in northern Thailand, which lasted from 1238 to 1438. Sukhothai can be translate ... moreas"The Dawn of Happiness" In general. The Sukhothai style is characterized by a large flame finial on the top of the head and above the usual top knot(the ushnisha) indicating the heightened spiritual awareness and transcendent wisdom of the Lord Buddha. The head is covered with fine curled hair. The face is oval. With high curving eyebrows, a downward gaze, and displays overall a gently smiling expression. The body of the Buddha usually has broad shoulders and a small waist. Sukhothai images show idealistic or superhuman characteristics, and, as with so much of Southeastern Asian art, the intent of the artist is to portray a spiritual serenity merged with a human form, rather than a realistic representation of the Buddha's actual body. All of these elements are present in our Buddha. Many art historians consider the Sukhothai style. With its refined, elegant lines and proportions, to be the very acme of Thai sculpture. Our Buddha is an example par excellence of this refined elegance. Our Buddha is seated in virasana. Or the half lotus position, left leg tucked under the right. He holds his hands in his lap in sammasamadhi. Right hand over left; it is the mudra,
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BUDDHA: Antique Shakyamuni, Sammasamadhi, Gilt Bronze, late 1800's, Great Patina
BUDDHA: Antique Shakyamuni. Sammasamadhi, Gilt Bronze, late 1800's. Great Patina This is an very charming and interesting statue of the Lord Buddha cast in bronze by the lost wax process and gilded somewhere in Southeast Asia. I am not perfectly sure of the date of his creation. The previous owner believed he was from the 1700's; I rather think he is from the 1800's. Of course. The best we can hope to do with undocumented objects like this is to make informed suppositions. And I may be wrong; he may in fact be earlier, though I do not think he is much later than the 1800's. Our Buddha is seated in vajra-paryankasana. The lotus position,or adamantine position, which is usually reserved for images of the Buddha after his enlightenment. He holds his hands in his lap in sammasamadhi. Right hand over left; it is the mudra, or gesture ... moreof complete balance in meditation. He is seated on a beaded moon disk supported by a waisted. Lotus petal support which in turn rests on a beaded foot. His garments. The lotus petals and the small orb atop his ushnisha.Or top knot, are all gilded. Most of the gold is still intact which makes me thank that he was mercury gilded. The old warm gold with the deep chocolate brown of the ungilded parts makes for a complex and beautiful overall patina. But the real story here is the wonderfully subtle modeling of the figure. Especially in the face, with it's innocent and ineffable expression of ecstatic composure. He has an urna on his forehead. The small incised circle, which symbolizes a kind of third eye with which he is able to see past this universe of suffering, samsara. Into the world of enlightenment. He also has the three rings at his neck which mark him as a mahapurusa. Or individual of great spiritual wisdom. This figure 7 inches tall and 4 1.2 inches wide at the lotus petal throne inches wide at the bottom. There is no serious damage to the figure at all and no sign of repair or restoration. The bottom is closed in the old way. And he is relatively heavy in the ha
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BUDDHA: Antique Sukhothai Head, Gilt Bronze, Late 1800's, Beautiful Patina
BUDDHA: Antique Sukhothai Head. Gilt Bronze, Late 1800's. Beautiful Patina This is a handsome and venerable head of the Lord Buddha cast in bronze by the lost wax process and partially gilded in Thailand sometime in the late 1800's. He could be earlier. But I doubt that he is much later. Although created at a later time. This figure reflects the traditions of the Sukhothai style, named after the kingdom centered around the city of Sukhothai in northern Thailand. Which lasted from 1238 to 1438. Sukhothai[ translated as The Dawn of Happiness] Sculpture was inspired by Theravada Buddhism which created a new style in which spiritual serenity is merged with human form and reflected in the numerous images of the Buddha. Sculptors did not base their images on strict human form but on interpretations of metaphors from religious verse and ... morePali language scriptures. Accordingly. The artists created images that were intended to reflect the compassionate and superhuman nature of the Buddha. The Kingdom of Sukhothai had important contacts with Sri Lanka. Thai monks traveled to Sri Lanka for further religious instruction. And Sri Lankan monks settled in Sukhothai and, thereby, the religious art of the latter kingdom was influenced by Sri Lankan art. The images of the Lord Buddha in the Sukhothai era also acquired some characteristics from the images of the Khmer and Mon era. In general. The Sukhothai style is characterized by a large flame finial(the ketumala) on the top of the head and above the usual top knot(the ushnisha) indicating the heightened spiritual awareness and transcendent wisdom of the Lord Buddha. The head is covered with finely curled hair. The face is oval. With high curving eyebrows, a downward gaze, and displays overall a gently smiling expression. Sukhothai images show idealistic or superhuman characteristics. And, as with so much of Southeastern Asian art, the intent of the artist is to portray a spiritual serenity merged with a human form. Rather than a realistic representation of the Buddha's
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BUDDHA: Antique Head from Java, late 1800's, Gilt Bronze, Exquisite Patina, 11"
BUDDHA: Antique Head from Java. Late 1800's, Gilt Bronze. Exquisite Patina, 11 inches Tall This is a magnificent and extraordinarily handsome head of the Lord Buddha cast in white bronze and gilded in some part of the country we now call Indonesia. Most likely Java. I believe that the figure dates to the very late 1800's. He could be earlier, but I do not think he is much later than 1900. This head is 11 inches tall. White bronze has been used for centuries for casting various items. It is not actually bronze. But an alloy of varying amounts of copper, tin and zinc. It is non-magnetic, very smooth, virtually non-porous and highly resistant to corrosion and breakdown. The tall. Complex ketumala, or flame. Atop this Buddha's ushnisha. Or top knot, and the pattern of curls in his coiffure are all typical Javanese features, as is ... morethe fullness of the his face, his open eyes and gentle smile. I find this Buddha very beautiful. With a peaceful and serene, slightly melancholic affect. His open eyes seem to invite communion with the viewer. The head itself is 11 inches tall. The face and complex ketumala finial atop his head were gilded over a coat of light brown lacquer. Some of the gilding has won away creating a complex and beautiful overall patina with the old gold. The underlying brown lacquer and the silvery tones of the coiffure. There is no significant damage or sign of repair. The bottom is open and the tempered core of sand and clay has long ago fallen out. Although this Buddha may be slightly unusual. I find him very beautiful, with a peaceful and serene feeling to him. The photos give an excellent idea of the beauty and finesse of this wonderful example of Indonesian Sacred Art. If you should have any questions. Please don't hesitate to contact me. And thanks for looking. Due to limitations of photography and the inevitable differences in monitor settings. The color of the pictures on your monitor may be slightly different from the Buddha himself, but I did my best to capture him as he is. And,
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