Footnotes

緬甸 曼德勒時期 1853-1945年 銅鎏金漆器佛坐像

Provenance:
Private Collection, France

Literature:
A fine example of a seated Buddha of this type is exhibited in the Guimet Museum, Paris acc. no. MA6210 and in the Asian Civilisations Museum, Singapore acc. no. 2014-00461.


This superb and finely cast image represents the high point of the Mandalay period for traditional Burmese sculpture in technique and theme. Here the historical Buddha Shakyamuni performs bhumisparshamudra, the gesture summoning the earth to witness his enlightenment against the evil temptations of the demon king Mara. He is depicted seated in padmasana, on a base adorned with intricate geometric decoration. While the treatment of the Buddha's robes conveys a quiver, as if shaken by the vibrations of his realisation, it could also suggest the presence of the earth goddess, affirmed by virtue of the fluid swirls and folds of the garment stylised as cascades and waterfalls which merge into the flowing river of his hem.

In the Tai regions, the earth deity is known as Nang Thoranee or Mae Thoranee: 'lady earth' or 'mother earth'. Unique to Southeast Asia, she is associated with water and waterfalls, arising from the amalgamation of indigenous traditions with Hindu-Buddhist beliefs.

"The earth deity in the form of a beautiful woman rose up from underneath the throne and affirmed the Bodhisattva's right to occupy the vajriisana. She twisted her long hair, and torrents of water collected there from the innumerable donations of libations for the Buddha over the ages created a flood. The flood washed away Mara and his army, and the Bodhisattva was freed to reach enlightenment."

(Meng Prang, Buddhist Institute, Phnom Penh, February 1996)

The Enlightened One's expression of deep awareness is marked by clear, almond shaped eyes inlaid with black and white glass or enamel and framed by naturally arched eyebrows, a sharp nose and full lips in a gentle, enigmatic smile. The hair is depicted in rows of small raised curls with a wide headband and a cap-like ushnisha, and the Buddha's curved earlobes descend touching the shoulders. His fingers are elongated, with the left hand having possibly been cast separately and later inserted into the sculptural composition as is the case with most copper alloy images stemming from the Mandalay period.

Dry lacquer procured from China, coloured glass and mirror inlay sourced from Thailand are used for movement and to add grandeur. The style of dress, technique, and physiognomy are all typical of the art of the Mandalay Period in Myanmar.