Tibetan Gilt Bronze Head of Buddha Shakyamuni
15th century or before
Height of gilt bronze head 6 3/4”
Height of carved wooden altar base 4 1/4”
Provenance:, Jim Conley, Los Angeles, CA
Private collection, Beverly Hills, CA
This enigmatic sculpture would have taken a place of honor and devotion on a Buddhist altar, whether within a personal home or monastery, and would have served as the focal point of meditation and ritual. The gilt bronze head representing Buddha Shakyamuni is imbued with deep history, as is evidenced by the distressed surface and signs of extensive wear and handling. The surface of the head is rubbed and worn to a smooth polished patina, with only traces of the original gilt remaining, suggesting that it was treated as a personal object of devotion for centuries. The bronze buddha head was, quite dramatically, removed from a larger bronze seated figure in the distant past, and was inserted upon a carved wooden base. The base is carved with an integrated lotus petal motif, a design also cast at the base of Tibetan bronze buddha figures.
The bronze head was skillfully cast with sensitivity and devotion to the Buddha. The subtle hint of a smile and the downcast expression beautifully capture the serene inner calm of Buddhahood and awakened bliss. The head displays a number of the classic marks (lakshanas) of the Buddha Shakyamuni. The extended earlobes serve to remind the observer of the Buddha’s enlightenment and former princely status. The center of the forehead is adorned with an urna, the symbol of vision in the divine world. The head still bears the three rings of the Buddha’s neck, representing the three virtues of conduct, concentration, and wisdom. The rounded protuberance on the top of the head (ushnisha) is curiously not present on this bronze head as it was removed or broken away, adding to the mystery of this sculpture’s past. The hair is portrayed in rhythmic bands emanating from the top of the head and terminating in tight repeating curls. There are traces of the blue mineral lapis lazuli or azurite within the recesses of the hair.
The question arises, what is the deep history of this bronze head that led to its distressed surface and placement atop the carved wooden base? Tibet and the Tibetan cultural centers in the Himalayas have throughout history been shaken by powerful earthquakes, as the region is situated astride one of the most dramatic geological upheavals in the world. The Buddhist monasteries of Tibet have historically suffered devasting damage and in some cases complete destruction as the result of earthquakes. It is quite likely that the seated bronze figure sat atop an ornately carved wooden altar within a monastery that was brought down by an earthquake a century or more ago. The complete bronze Buddha would have been an especially cherished object, as the head was purposefully saved and mounted atop the carved wooden base, perhaps itself a carved element from the accompanying wooden altar. Revitalized, this sacred sculpture gave the worshiper direct access to the Buddha and thus would have received the same obeisance, offerings, confessions, and prayers as that of the splendid full-figured bronze depiction of Buddha Shakyamuni.
15th century or before
Height of gilt bronze head 6 3/4”
Height of carved wooden altar base 4 1/4”
Provenance:, Jim Conley, Los Angeles, CA
Private collection, Beverly Hills, CA
This enigmatic sculpture would have taken a place of honor and devotion on a Buddhist altar, whether within a personal home or monastery, and would have served as the focal point of meditation and ritual. The gilt bronze head representing Buddha Shakyamuni is imbued with deep history, as is evidenced by the distressed surface and signs of extensive wear and handling. The surface of the head is rubbed and worn to a smooth polished patina, with only traces of the original gilt remaining, suggesting that it was treated as a personal object of devotion for centuries. The bronze buddha head was, quite dramatically, removed from a larger bronze seated figure in the distant past, and was inserted upon a carved wooden base. The base is carved with an integrated lotus petal motif, a design also cast at the base of Tibetan bronze buddha figures.
The bronze head was skillfully cast with sensitivity and devotion to the Buddha. The subtle hint of a smile and the downcast expression beautifully capture the serene inner calm of Buddhahood and awakened bliss. The head displays a number of the classic marks (lakshanas) of the Buddha Shakyamuni. The extended earlobes serve to remind the observer of the Buddha’s enlightenment and former princely status. The center of the forehead is adorned with an urna, the symbol of vision in the divine world. The head still bears the three rings of the Buddha’s neck, representing the three virtues of conduct, concentration, and wisdom. The rounded protuberance on the top of the head (ushnisha) is curiously not present on this bronze head as it was removed or broken away, adding to the mystery of this sculpture’s past. The hair is portrayed in rhythmic bands emanating from the top of the head and terminating in tight repeating curls. There are traces of the blue mineral lapis lazuli or azurite within the recesses of the hair.
The question arises, what is the deep history of this bronze head that led to its distressed surface and placement atop the carved wooden base? Tibet and the Tibetan cultural centers in the Himalayas have throughout history been shaken by powerful earthquakes, as the region is situated astride one of the most dramatic geological upheavals in the world. The Buddhist monasteries of Tibet have historically suffered devasting damage and in some cases complete destruction as the result of earthquakes. It is quite likely that the seated bronze figure sat atop an ornately carved wooden altar within a monastery that was brought down by an earthquake a century or more ago. The complete bronze Buddha would have been an especially cherished object, as the head was purposefully saved and mounted atop the carved wooden base, perhaps itself a carved element from the accompanying wooden altar. Revitalized, this sacred sculpture gave the worshiper direct access to the Buddha and thus would have received the same obeisance, offerings, confessions, and prayers as that of the splendid full-figured bronze depiction of Buddha Shakyamuni.
15th century or before
Height of gilt bronze head 6 3/4”
Height of carved wooden altar base 4 1/4”
Provenance:, Jim Conley, Los Angeles, CA
Private collection, Beverly Hills, CA
This enigmatic sculpture would have taken a place of honor and devotion on a Buddhist altar, whether within a personal home or monastery, and would have served as the focal point of meditation and ritual. The gilt bronze head representing Buddha Shakyamuni is imbued with deep history, as is evidenced by the distressed surface and signs of extensive wear and handling. The surface of the head is rubbed and worn to a smooth polished patina, with only traces of the original gilt remaining, suggesting that it was treated as a personal object of devotion for centuries. The bronze buddha head was, quite dramatically, removed from a larger bronze seated figure in the distant past, and was inserted upon a carved wooden base. The base is carved with an integrated lotus petal motif, a design also cast at the base of Tibetan bronze buddha figures.
The bronze head was skillfully cast with sensitivity and devotion to the Buddha. The subtle hint of a smile and the downcast expression beautifully capture the serene inner calm of Buddhahood and awakened bliss. The head displays a number of the classic marks (lakshanas) of the Buddha Shakyamuni. The extended earlobes serve to remind the observer of the Buddha’s enlightenment and former princely status. The center of the forehead is adorned with an urna, the symbol of vision in the divine world. The head still bears the three rings of the Buddha’s neck, representing the three virtues of conduct, concentration, and wisdom. The rounded protuberance on the top of the head (ushnisha) is curiously not present on this bronze head as it was removed or broken away, adding to the mystery of this sculpture’s past. The hair is portrayed in rhythmic bands emanating from the top of the head and terminating in tight repeating curls. There are traces of the blue mineral lapis lazuli or azurite within the recesses of the hair.
The question arises, what is the deep history of this bronze head that led to its distressed surface and placement atop the carved wooden base? Tibet and the Tibetan cultural centers in the Himalayas have throughout history been shaken by powerful earthquakes, as the region is situated astride one of the most dramatic geological upheavals in the world. The Buddhist monasteries of Tibet have historically suffered devasting damage and in some cases complete destruction as the result of earthquakes. It is quite likely that the seated bronze figure sat atop an ornately carved wooden altar within a monastery that was brought down by an earthquake a century or more ago. The complete bronze Buddha would have been an especially cherished object, as the head was purposefully saved and mounted atop the carved wooden base, perhaps itself a carved element from the accompanying wooden altar. Revitalized, this sacred sculpture gave the worshiper direct access to the Buddha and thus would have received the same obeisance, offerings, confessions, and prayers as that of the splendid full-figured bronze depiction of Buddha Shakyamuni.