COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
ASIA.1979.089
amicoid
ASIA.1979.089
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Sculpture
oty
Sculpture
Object Type
false
Creator Nationality:
Asian; Far East Asian; Tibetan
crc
Asian; Far East Asian; Tibetan
Creator Nationality
false
Creator Name-CRT:
Tibetan
crt
Tibetan
Creator Name-CRT
false
Title:
Buddha Shakyamuni
otn
Buddha Shakyamuni
Title
false
View:
Full view
rid
Full view
View
false
Creation Date:
11th century
oct
11th century
Creation Date
false
Creation Start Date:
1000
ocs
1000
Creation Start Date
false
Creation End Date:
1099
oce
1099
Creation End Date
false
Materials and Techniques:
Copper alloy with copper overlay and inlays of silver
omd
Copper alloy with copper overlay and inlays of silver
Materials and Techniques
false
Classification Term:
Bronzes
clt
Bronzes
Classification Term
false
Creation Place:
Tibet
ocp
Tibet
Creation Place
false
Dimensions:
H. 5 5/8 in. (14.3 cm)
met
H. 5 5/8 in. (14.3 cm)
Dimensions
false
AMICA Contributor:
Asia Society
oon
Asia Society
AMICA Contributor
false
Owner Location:
New York, New York, USA
oop
New York, New York, USA
Owner Location
false
ID Number:
1979.089
ooa
1979.089
ID Number
false
Credit Line:
Asia Society: The Mr. and Mrs. John D. Rockefeller 3rd Collection
ooc
Asia Society: The Mr. and Mrs. John D. Rockefeller 3rd Collection
Credit Line
false
Rights:
orl
<a href="http://www.asiasociety.org"target="_new">http://www.asiasociety.org</a>
Rights
false
Context:
Tibetan sculpture is characterized by a conservative and complicated iconography, and the acceptance and adaptation of figures, facial types, and clothing associated with many other cultures and various eras. This image of Shakyamuni Buddha seated in the meditative lotus posture (padmasana) with his right hand in the gesture of touching the earth (bhumisparshamudra) illustrates the impact of the iconography and style of Pala-period Indian sculpture on Tibetan art. Images of the Buddha with this pose and gesture were the most important icons in the art of the Pala period. Shakyamuni sits on a cushion decorated with flowing vines and the face of a lion, and two lions, two standing elephants, and two small figures are depicted on the base of the sculpture. The figure holding the vase represents the earth goddess whom Shakyamuni invoked in his battle with Mara and his demonic hoards. The figure seated in the posture of relaxation probably represents the donor of the sculpture. The rather abstract face and figure of the Buddha derive from traditions common in the art of the Pala period.
The distinctive use of two colors of metal in this piece may reflect a practice recorded in the writings of the Tibetan scholar and teacher Padma Dkarpol (1524-1592), in which sculptures are described as being made of both white and red brass. The darker color used for the Buddha's robe has been linked to the metals found in western Tibetan sculpture that are characterized by that area's longstanding ties to Kashmir. This robe may also refer to the red robes worn by monks of the Sakya order, which was prominent in central Tibet.
cxd
Tibetan sculpture is characterized by a conservative and complicated iconography, and the acceptance and adaptation of figures, facial types, and clothing associated with many other cultures and various eras. This image of Shakyamuni Buddha seated in the meditative lotus posture (<I>padmasana</I>) with his right hand in the gesture of touching the earth (<I>bhumisparshamudra</I>) illustrates the impact of the iconography and style of Pala-period Indian sculpture on Tibetan art. Images of the Buddha with this pose and gesture were the most important icons in the art of the Pala period. Shakyamuni sits on a cushion decorated with flowing vines and the face of a lion, and two lions, two standing elephants, and two small figures are depicted on the base of the sculpture. The figure holding the vase represents the earth goddess whom Shakyamuni invoked in his battle with Mara and his demonic hoards. The figure seated in the posture of relaxation probably represents the donor of the sculpture. The rather abstract face and figure of the Buddha derive from traditions common in the art of the Pala period.<P>The distinctive use of two colors of metal in this piece may reflect a practice recorded in the writings of the Tibetan scholar and teacher Padma Dkarpol (1524-1592), in which sculptures are described as being made of both white and red brass. The darker color used for the Buddha's robe has been linked to the metals found in western Tibetan sculpture that are characterized by that area's longstanding ties to Kashmir. This robe may also refer to the red robes worn by monks of the Sakya order, which was prominent in central Tibet.</P>
Context
false
Related Document Description:
Asia Society. Handbook of the Mr. and Mrs. John D. Rockefeller 3rd Collection. New York: Asia Society, [1981], p. 43.
rdd
Asia Society. <I>Handbook of the Mr. and Mrs. John D. Rockefeller 3rd Collection</I>. New York: Asia Society, [1981], p. 43.
Related Document Description
false
Related Document Description:
Huntington, John C. 'Three Essays on Himalayan Metal Images.' Apollo (November 1983), pp. 416-18.
rdd
Huntington, John C. 'Three Essays on Himalayan Metal Images.' <I>Apollo</I> (November 1983), pp. 416-18.
Related Document Description
false
Related Document Description:
Huntington, Susan L., and John C. Huntington. Leaves from the Bodhi Tree: The Art of Pala India (8th-12th Centuries) and Its International Legacy. Dayton and Seattle: Dayton Art Institute and University of Washington Press, 1990, pp. 372-73.
rdd
Huntington, Susan L., and John C. Huntington. <I>Leaves from the Bodhi Tree: The Art of Pala India (8th-12th Centuries) and Its International Legacy</I>. Dayton and Seattle: Dayton Art Institute and University of Washington Press, 1990, pp. 372-73.
Related Document Description
false
Related Document Description:
Lee, Sherman E. Asian Art: Selections from the Collection of Mr. and Mrs. John D. Rockefeller 3rd--Part II. New York: Asia Society, 1975, pp. 29, 33.
rdd
Lee, Sherman E. <I>Asian Art: Selections from the Collection of Mr. and Mrs. John D. Rockefeller 3rd--Part II</I>. New York: Asia Society, 1975, pp. 29, 33.
Related Document Description
false
Related Image Identifier Link:
ASIA.1979.089.a.tif
ril
ASIA.1979.089.a.tif
Related Image Identifier Link
false