Footnotes

緬甸 十八/十九世紀 象牙央掘魔羅像印章

This delicately carved and pierced ivory seal coveys the virtue of power tempered by compassion. A dha (sword) is brandished over Angulimala's shoulders, making contact with his other, more terrible attribute, a necklace of nearly 1000 fingers. Formerly a bloodthirsty bandit, Angulimala is depicted here kneeling in acquiescence on an intricately pierced cushion of lotuses. The sacred flower is a leitmotif in his representation, also appearing in a traditional headband around his carved locks. According to the Pali canon, an encounter with the Buddha and his redemptive presence were what converted and transformed Angulimala to a benevolent and protective icon. In modern Southeast Asia, Angulimala is a patron saint of childbirth and fertility (Gombrich, How Buddhism Began, 2011, pp.135-64).

Ivory in pre-modern Myanmar was only harvested from elephants that had died of natural causes, as they were more valuable alive for their use as beasts of burden (Tingley, Doris Duke: The Southeast Asian Art Collection, 2003). Over the centuries, Buddhism has been the leading inspiration for much of Burma's artistic innovation. This, in tandem with the rich resources from pre-Buddhist animistic beliefs, a strong native oral tradition, and an appreciation for elaborate ornamentation, has resulted in some of the most original and innovative artistic expressions of the region.

Four comparable 19th-century ivory figures from Burma, of similar size and quality, can be found in the Indian Museum, Kolkata. Note the similarity in the rendition of the facial features, garments, and proportions. See Bhattacharya, The Arts and Crafts of Myanmar: The Indian Museum Collection, 2006, p.39-41, fig.37, 38 & 39, and Fraser-Lu, Burmese Crafts: Past and Present, 1994, p.121.

Provenance:
Private Collection, United Kingdom