Footnotes

Provenance:
Chino Roncoroni, c. 2005.
Private European Collection.

尼泊爾 十六/十七世紀 銅鎏金佛陀像

來源
Chino Roncoroni，約2005年
歐洲私人珍藏

The historical Buddha Shakyamuni sits cross-legged, touching the earth in the familiar bhumisparsa mudra, calling it to witness his awakening. Cast in Nepal, this image embodies the enduring traditions of Newar metalwork at a time of great cultural vitality in the Kathmandu Valley. His body, softly modeled yet firmly grounded, rises into a long, smooth torso framed by a monastic robe edged in delicate bands of engraved lotus petals in shallow relief. The wide, inward-turning eyes, arched brows, and gently smiling mouth convey a tranquil presence, a hallmark of Newar ideals of enlightened form.

This Buddha's large scale resulted in a figure cast in separate parts combined with soldering and rivets. The intricate assemblage is visible from lines running along the right bicep, the left elbow, the circumference of the neck, and the small of the back. Pins are located within the left elbow, lap, and back. Due to the separate, heavily cast pieces, the sculpture bears considerable weight. Other large Nepalese figures show similar construction from the period. An 89 cm tall Kagyu yogin attributed to the 17th century shows eight separately cast parts. However, it also employs repoussé indicated in areas along the robe, unlike the present sculpture (Dinwiddie (ed.), Portraits of the Masters, pp. 150-3, no. 24). Two standing repoussé Dipankara Buddhas, both just over 75 cm, show a similar method of fabrication of soldered lines and pins (Bonhams, New York, 13 September 2011, lot 1005 and Norton Simon Museum of Art, M.1974.13.S). Two 15th-16th-century seated Tara figures are made with separately cast heads and arms joined at the shoulders and elbows (Asian Art Museum, B60S22+ and B60B160). Another similarly large scale repoussé example of Padmasambhava shows similar relief along the hems and a refined treatment of the face (Sotheby's, New York, 5 December 1992, lot 57).

The above examples illustrate stylistic traits similar to those of the present Buddha. All wear robes with thick hemlines, patterned with similar large entwined foliate designs. Along the Buddha's hem, the scrolling vines bend over and under blossomed lotus flowers. Akin to the Buddha's robes, the Dipankara Buddhas show deeper engraved designs and a low sweep of the robes across the abdomen, exposing a band of pleats stretching around the torso. Both Dipankara Buddhas also share facial features of thin, elongated noses, the bridge of which extends into sweeping brows. The upper and lower lids show a piped rim of articulation. This Buddha and the Norton Simon example share tear-dropped urnas set over a coiled swirl. Almost all of the examples appear with backs left without gilding, though there is continuity of the engraved hem designs in the Bonhams Dipankara Buddha and this example.