Om Mani padme hum

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MARCEL NIES ORIENTAL ARTLange Gasthuisstraat 28 2000 Antwerpen België [email protected]

OM MANI PADME HUM

OM MANI PADME HUM

‘Om Mani Padme Hum’, the lotus is the jewel of creation, contains the essence of Buddha’s teachings. This widely used mantra is associated with Sadaksari, an emanation of Avalokitèsvara, the Bodhisattva of compassion. It is commonly carved on rocks or written on paper inserted into prayer wheels, or refrains of sacred texts. Saying ‘Om Mani Padme Hum’, or viewing the mantra, evokes the powerful benevolent attention and blessings of Avalolitèsvara.

Throughout Asian art history, the padma has been a major symbol of purity, and the lotus thrones upon which deities are portrayed symbolize their divine origin. This sacred sign has been adopted by many of the world’s great civilizations, and incorporated into their arts and architecture. The lotus is seen as immaculately conceived, perfect and pure in its body, speech and mind.

‘Om Mani Padme Hum’ has been chosen as the title for this catalogue. The image of Sadaksari illustrated on the cover symbolizes it in a perfect manner, and represents the emotional impact of such pieces they originally transcended in temples or monasteries. They were intended as a means by which a state of spiritual salvation could be attained.

The catalogue represents a fine selection of Asian art, chosen from private collections on the bases of their lively expression, high quality of execution, rarity, provenance and level of artistic taste. All the works have been carefully researched and come with extensive written documentation, a provenance report, a guarantee of authenticity, and an Art Loss Register certificate.

Marcel Nies 2011

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Buddha SakyamuniPakistan, Gandhara 2nd/3rd centurySchist, height 106 cm

From the first until the fifth century parts of Afghanistan and Pakistan were ruled by the Buddhist Kushana kings. Their kingdom was known as Gandhara. The sculpture portrays the historical Buddha Sakyamuni, depicted in a standing posture on a throne, and reveals the typical stylistic characteristics of this period. The influence of the Greco-Roman aesthetic is apparent in the naturalistic treatment of the folded dhoti, the hairstyle, and the realism of the facial expression. Carved in relief, the throne depicts a columnar fire altar flanked by worshippers, and the sides are decorated with large open folded lotus flowers. Created to be seen from the front, the back of the sculpture is unfinished.

The assured carving in hard stone exhibits an organic rhythm and dynamic force, and gives convincing and vital shape to the body beneath the fine dhoti. The facial expression reveals a high level of intellect and humanity that superbly enhances the inspirational impact of this majestic Buddha.

Provenance:

Private collection, The Netherlands.

Literature:

D. Ahrens, Die Römischen Grundlagen der Gandharakunst, Aschendorff, Münster, 1961, fig. 4.

H. Ingholt, Gandharan Art in Pakistan, Hamden, 1971, fig. 477.

W. Zwalf, A Catalogue of the Gandhara Sculpture in the Bristish Museum, London, 1996, II, fig. 48.

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PadmapaniBangladesh, Gupta 5th/6th centuryTerracotta, 61 x 39 cm

The lotus flower (padma) in the Buddhist deity’s right hand identifies him as Padmapani, the personification of compassion, who is believed to have created the fourth world, the actual universe. This early sculpture portrays the Bodhisattva seated in vajrasana between two pillars, flanked by two disciples. All the figures are adorned with necklaces, earrings and other ornaments and their heads are nimbused by a halo. Typical Gupta style characteristics reveal a full face with pronounced lips and open eyes, large curls, powerful modelling, natural volume, and the shape of the body evident beneath the cloth.

Gupta art marks the full flowering of classical Indian civilization after the fourth century. Interesting terracottas recently discovered in the ancient site of Tamrelipta reveal that the port of the city was a centre of great cultural activity. Gupta sculptors succeeded in harmonizing the concepts of physical and spiritual well being in their images. The present shrine of Padmapani is noteworthy for its focused shape with decoration being limited though well pronounced; it enhances his energetic expression and gives iconographic meaning to the god of compassion.

Provenance:

Private collection, Belgium.

Test:

Thermoluminescence Expert Evaluation by Archeolabs TL, O. Langevin, Ref. n°BH-08-07-01-04-TL.

Literature:

P. Pal, The Ideal Image. The Gupta Sculptural Tradition and Its Influence, The Asia Society, New York, 1978, p. 79, fig. 27.

The Golden Age of Classical India. The Gupta Empire, catalogue, Galeries Nationales du Grand Palais, Paris, 2007, p. 228, fig. 49.

V. Lefèvre & M.-F. Boussac, Art of the Ganges. Masterpieces from Bangladeshi Museums, Paris, 2008, p. 141, p. 143, p. 149, p. 172.

Art Loss Register Certificate, Reference: S00048769.

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Head of ParasuramaCambodia, Ta Keo Province, Phnom Da 6th/7th centurySandstone, height 22 cm

A circular disk surrounding a small chignon in the upper part of this male head identifies him as Parasurama, the sixth avatar of the Hindu deity Vishnu. He is portrayed with elongated earlobes, a profound nose and finely arched eyebrows, and is shown with long strands of hair ending in rows of large curls.

This impressive portrait was sculpted during the Pre-Angkor period, before the establishment of the Khmer capital in Angkor. Phnom Da, an ancient centre during the sixth and seventh centuries, is located in southern Cambodia close to the Mekong river. Early Indian styles of Amaravati and Gupta had a prominent influence on the art of early Cambodian sculpture, characterizing the Phnom Da-style with beautiful volumes and a corpulent face. The inspired expression of this wonderful head is imbued with an appealing enigmatic smile; a rare sculpture which can be ranked among the finest known examples of early Cambodian art.

A large image of Parasurama is exhibited in the Phnom Penh museum, dated to the late sixth or early seventh century. The god’s face has

the same physiognomy and is depicted with a similar hairdo and compressed chignon.

Provenance:


Literature:

J. Boisselier, Asie Du Sud-Est, I, Le Cambodge, Paris, 1966, p. 236.

N. Dalsheimer, Les Collections du Musée National de Phnom Penh. L’Art du Cambodge, Paris, 2001, fig. 21.

E. C. Bunker and D. Latchford, Adoration and Glory. The Golden Age of Khmer Art, Chicago, 2004, p. 62.


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Buddhashrine India, Bihar 9th centuryBlack Basalt, 37,5 x 43,5 cm

This fine shrine depicts a crowned Buddha with his hands raised in dharmacakra mudra, the hand pose of preaching the doctrine. The crown, ear ornaments, bracelets and necklace indicate that the Buddha represents his sambhohakaya or transcendental dimension.He is seated in vajrasana on a beautifully designed lotus throne and is flanked by two pillars, seven Buddha images, and a kneeling disciple. His head is framed by a large nimbus. Striking are the two images of Maitreya, the Buddha of the future, who are as usual depicted in the European seated fashion. Dressed in a long uttarasangha, they also make the mudra of turning the wheel of Buddhist law.

One of the famous centres of learning was the Buddhist monastery of Kukkutapada Giri situated in the village of Kurkihar. This ancient cloister comprised numerous monuments, among them many stupas. The shrine was originally designed as part of a stupa, some of which may have contained the ashes of important monks. The sculpture is a classic icon for Pala art and is originating from the regions of Kurkihar, Bodhgaya, and Nalanda, Buddhist centres which housed one of the richest and most prolific artistic traditions in all Asia. The sculpture is of a focussed form and intended to be viewed from the front. The body volumes and mudras are beautifully integrated and framed by the outer line of the sculpture. The expressive faces reveal spiritual conviction stenghtened by the powerful gestures of their hands. The use of hard dark basalt is also typical of the period.

Provenance:

Private collection Germany.

Literature:

J. E. Van Lohuizen-de Leeuw, Indian Sculptures in the von der Heydt Collection, Museum Rietberg Zürich, Zürich, 1961, p. 63.

The John C. and Susan L. Huntington Photographic Archive of Buddhist and Asian Art, fig. 0003485/0003834/0003836/0004104/0004

108.


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Lintel with Lions and Kirttimukhas India, Uttar Pradesh, Pratihara 8th/9th centurySandstone, 167 x 27 cm

The fearsome lion in Hinduism is associated with the creative power of god, a symbol which appropriately overcomes the darkness of the deep. The name simha (lion) was accordingly applied to powerful kings and heroes. Artists in Central India were renowned to carve creatures of their imagination based on the force of nature. Kirttimukhas were elements of such fantasy, grinning monster masks full of supernatural symbolism. They were also known as ‘the face of glory’, alluding directly to the fierce energies of the sun, and acted as a demon’s mask.

The present lintel was probably part of a temple doorway. The centre depicts a small shrine with floral motifs surrounded by guardians, fearsome lions, and kirttimukhas to offer protection. Starting around circa 780 AD, the Pratihara sculptural style derived from the Gupta tradition, and its influence extended across Gujarat, Rajasthan and a large part of central and northern India. This large lintel is carved from reddish sandstone, and is an important example of the medieval schools active during the Pratihara occupation. With powerful movement and pronounced carving the sculpture exhibits all the characteristics of its period.

Exhibited:

On loan to the Art Institute of Chicago since 1983.

Provenance:

Collection Mr. and Mrs. J. W. Alsdorf, USA before 1983.

Literature:

R. D. Trivedi, Temples of the Pratihara Period in Central India, New Delhi, 1990, pl. 83, pl. 84, pl. 85, pl. 111.

M. D. Willis, Temples of Gopaksetra. A regional History and Sculpture in Central India AD 600-900, British Museum, London, 1997,

pl. 80, p. 94, pl. 111.

P. Pal, Art from the Indian Subcontinent, I, Asian Art at the Norton Simon Museum, London, 2003, p. 149.


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Jina PadmaprabhaIndia, Uttar Pradesh 8th centurySandstone, height 191 cm

Jainism is one of the three major world religions to have emerged in India and considers all members of the community as equal. It advocates a life of detachment with a view to escaping the endless rebirth cycle and try to attain a state of spiritual liberation.Padmaprahba, the ‘lotus splendour’, can be identified by the padma depicted in both hands, and symbolizes his divine origin, purity and spiritual elevation. Surrounded by twenty-four Jinas, also known as Tirthankaras, the naked deity stands in samapada with his elongated arms in a free posture. His hair is arranged in incised thick locks over a raised ushnisa, and a protecting umbrella is shown above the god’s head.

This temple statue is distinguished from later examples by the finely divided hairstyle in contrast to curls, and exhibits many elements of early Bihar sculptures revealing similarities with Gupta works of art. Typical characteristics are the full face with fleshy cheeks, the almond shaped eyes, and the perfect volume of his body. This monumental and rare image has a striking appearance; the god’s face expresses inner happiness, enhancing its mystic silence and energy of peace and serenity.

Provenance:

Private collection, England.

Literature:

P. Pal, The Peaceful Liberators. Jain Art from India, Los Angeles County Museum of Art, LA, 1995, p. 133, fig. 20.

J. Van Alphen, De Trap naar de Verlossing. 2500 jaar Kunst en Religie van het Jainisme, Antwerp, 2000, nr.60.

M. Nies, Peace of Mind, Antwerp, 2000, p. 6-7.

Tejas. Eternal Energy. 1500 Years of Indian Art, Bozar, Brussels, 2007, p. 152.


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Jina Padmaprabha India, Uttar Pradesh 8th centurySandstone, height 191 cm

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Gangadharar Murti India, Chola 10th centuryGranite, height 100,5 cm

This wonderful carving depicts Shiva with his sakti Parvati in an amorous peaceful embrace. Known as ‘the divine marriage’ it refers to an alliance of two mighty powers, a union of male and female principles. The sculpture is identified as Gangadharar Murti by the female image of Ganga, emanating from Shiva’s matted hair. The Gangadharar legend traces the origin of the river Ganges, known for her purity and divinity. She signifies the cosmic power of the Lord, who destroys sins, removes ignorance, and bestows knowledge, and peace on devotees. The Hindus believe that a bath in her holy water cleanses them from all sins.

Chola artists were renowned for depicting their gods with lively expression, and this sculpture is a convincing and assured reflection of the early stylistic tradition. Striking is the powerful posture of Shiva, here embracing his wife, and tenderly touching her breast, all beautifully intregrated in a well balanced composition. Shiva’s raised hands hold a trident and an axe, as his sakti holds a lotusflower. The shape of the karanda mukutas, the sacred cords, and in particular the snake-like bracelets and the fine openworked jewelry, are characteristic of the early Chola period. This rare sculpture reveals Shiva’s cosmic energy and the couple’s physical and emotional inseparability; their faces are radiant alive and express serenity and happiness.

Provenance:


Literature:

S. R. Balasubrahmanyam, Middle Chola Temples, Amsterdam, 1977, pl. 222, pl. 261.

A. de Lippe, Indian Mediaeval Sculpture, New York, 1978, p. 296, pl. 208.

Similar example from the Rajarajesvaram Temple, Nayak Palace Art Museum, Thanjavur.


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Gangadharar Murti India, Chola 10th centuryGranite, height 100,5 cm

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Lakshmi Koh Ker, second quarter of the 10th centuryBronze, height 15,5 cm

This female deity most probably represents Lakshmi, the goddess of prosperity. She is the embodiment of beauty and assumes different forms in order to accompany Vishnu, her husband, in his various incarnations. In this unusual kneeling form, she is portrayed on a circular lotus throne decorated with a row of pearls and protruding lotus leaves. With her left hand to her chest, and the lower right hand resting on her knee, the Hindu goddess holds a lotus bud, symbolizing beauty, purity and fertility.

This rare bronze originates from Koh Ker, named after the royal complex circa eighty kilometres north-east of Angkor, marking an important period in Khmer art history. Koh Ker characteristics are the relatively square face with a slightly broad nose, and the eyes and mouth are carefully outlined. Her eyebrows are shown as a continuous raised ridge, and the style of the pleated sarong, the high chignon and diadem are in addition typical of the period. Trivali beauty lines are engraved in the neck and the elongated earlobes adorned with ear ornaments connote royalty, and the goddess’ face is imbued with a majestic presence. The superb movement of the arms and legs complement the upright position of the torso, enhancing a lively tension. The bronze has a fine natural greenish patina and is striking from all angles.

Provenance:


Literature:

S. Lee, Ancient Cambodian Sculpture, The Asia Society, New York, 1969, p. 52, fig. 15.

P. Baptiste and Th. Zéphir, L’Art Khmer dans les Collections du Musée Guimet, Paris, 2008, fig. 43-44.


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Head of a Hindu GoddessCambodia, Koh Ker, second quarter of the 10th centurySandstone, height 35 cm

This life-size head of a Hindu goddess may have been created as part of one of the large sculptures carved fully in the round that embellished the royal complex in Koh Ker.The elongated earlobes connote royalty, being the result of wearing gold ear pendants that stretch the lobes. The goddess’ hair is finely arranged and composed into a high chignon. The diadem has a complex decor with an exquisitely rendered design including floral forms with small shaped medallions, a typical motif in the art of Koh Ker. The style is characterised by a relatively square face and with eyebrows in a continuous raised ridge, the eyes are engraved with open pupils, the nose is slightly broad, and the mouth is carefully outlined.

The Koh Ker period (circa 921-945 AD) was an extraordinary interval in Khmer history from the perspective of art and politics. In 921, Jayavarman IV revolted against the legitimate authority and divided the kingdom to set up a new capital, a royal complex comprising a large number of temples, approximately eighty kilometres north-east of Angkor. Similarity with images dating from the Pre Rup period, especially the reverse side with its elaborately sculptured design, suggest the head dates from the end of the Koh Ker period, circa 940 AD. This head is a classic example of a Khmer-ideal of female beauty and has a majestic presence. The aesthetic qualities derive from the harmonious ensemble of volume and contour, the precise modelling, and the fine polished stone surface. The goddess’ attractive smile provides an air of poised charm and dignified liveliness.

Provenance:

Collection Mr. D. Latchford, England, 1979.

Private collection, Belgium 2002-2011.

Published:

M. Nies, Window of the Sacred World, Antwerp, 2002, p. 10-13.

Literature:

M.Lerner, Ancient Khmer Sculpture, The Chinese Porcelain Company, New York, 1994, p. 33, fig.11.

E. C. Bunker and D. Latchford, Adoration and Glory. The Golden Age of Khmer Art, Chicago, 2004, p. 192.

K. Samen, Preah Neang Tévi. Collections du Musée National de Phnom Penh, Phnom Penh, 2005, p. 89.


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Head of a Hindu GoddessCambodia, Koh Ker, second quarter of the 10th centurySandstone, height 35 cm

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Shiva and ParvatiIndia, Madhia Pradesh, Chandella 10th centurySandstone, 66 x 55 cm

Shiva and his sakti Parvati are the most popular couple of the Hindu pantheon. Shiva is the powerful god in the cycle of destruction, preservation and creation, and is characterized by his cosmic energy, strongly connected to his sakti. Parvati is the goddess of love and devotion; she is the remover of misfortune and symbolizes the power of realisation and transcendent knowledge. In this sculpture the couple forms a perfect union, well balanced and in an intimate pose, their faces turning to each other. The four-armed Shiva holds a trident and a snake, and two hands embrace his sakti. Parvati carries a mirror and has one hand around her husband’s neck. The couple is adorned with necklaces, earrings, armlets and ornaments, and a complex coiffure of braids and tresses of hair is elaborately arranged in a high chignon. A large lotus halo frames Shiva’s head. Brahma and Kubera are depicted in separate niches and celestial figures and garland bearers are portrayed around the couple.

The Chandella occupation marked a remarkable powerful cultural and political influence and ruled in Central India from the tenth till the twelfth century. The most famous temple constructed by their kings is Khajuraho, which is unsurpassed by its beauty and sensuality. The sculpture is created with a sense of expressive dynanism and exhibits the typical characteristics of this important medieval school of art, comprising pronounced haircurls and arched eyebrows.

Provenance:

Collection Mr. J. Barnett, England.

Collection Mr. N. Vrielink, The Netherlands, 1989-2011.

Literature:

C. Mallebrein, Skulpturen aus Indien. Bedeutung und Forum, München, 1984, p. 54, fig. 32.

P. Pal, Art from the Indian Subcontinent, I, Asian Art at the Norton Simon Museum, London, 2003, fig. 115.


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Vishnu Cambodia, Jayavarman V period, last quarter of the 10th centuryPolished sandstone, height 120 cm

This impressive four-armed deity represents Vishnu, the prominent Hindu god of the trimurti and preserver of the universe. He is depicted with muscular shoulders in a standing posture, his legs turning slightly away from each other. Portrayed with a beard and a moustache, his open eyes are marked with pupils, and earlobes are elongated. A diadem, tied around the forehead and secured with a knot, and the four-tiered chignon cover, are extremely finely carved. Secured by a belt, the garment consists of a folded sampot can kpin with wide scalloped pleats arranged on his left thigh, and a scarf ending in two fishtail panels at the front. The nipples are indicated by two engraved circles and the navel is well marked. The arms are broken and braces at the back of the ankels were intended to support the weight of the statue.

The stylistic characteristics of this sculpture are typical of the Jayavarman V period. This king established a new capital named Jayendranagari, and among the temples he constructed are the impressive Ta Keo, and Banteay Srei, considered as the jewel of Khmer art for its very beautiful bas-reliefs. His rule was a largely peaceful period, marked by prosperity and cultural flowering.The style is a continuation of the Pre Rup period combined with elements that anticipate the Kleang style in the early eleventh century. The chignon cover and the masterfully carved back of the head are related to Pre Rup images. The extremely fine sampot is closely attached to the volumes of the body, and resembles statues of the Banteay Srei period and the Kleang style. The eyebrows are slightly arched and not represented by one continuous ridge, typical of earlier images; the sensual lips are related to those known on Kleang images. The masterful carving in combination with a smooth hard polished surface, characterizes the best known sculpture, epitomizing the artistic imagination of great Khmer art.

Provenance:

Private collection, The Netherlands, 1970s-2011.

Literature:

N. Dalsheimer, Les Collections du Musée National de Phnom Penh. L’Art du Cambodge, Paris, 2001, fig. 54.

E. C. Bunker and D. Latchford, Adoration and Glory. The Golden Age of Khmer Art, Chicago, 2004, p.199-201.

A large image of Vishnu closely related in style to the present image is in the Denver Art Museum; standing in a similar posture, the

sculpture has an identical style of the chignon cover, sampot and diadem.

P. Baptiste and Th. Zéphir, L’Art Khmer dans les Collections du Musée Guimet, Paris, 2008, p. 156-162, fig. 45-46.


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VishnuCambodia, Jayavarman V period, last quarter of the 10th centuryPolished sandstone, height 120 cm

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Vishnu Cambodia, Jayavarman V period, last quarter of the 10th centuryPolished sandstone, height 120 cm

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Manjusri seated on a LionChina, Yunnan, Dali kingdom 11th/12th centuryBronze, cast by the lost wax method, height 19 cm

Manjusri, the Buddhist god of wisdom, raises his right hand in vitarka mudra, the gesture of argumentation. The lion is his vehicle and stands on four separately constructed lotus flowers. The jewelry, the tiara-shaped crown and the facial features are characteristic for the art of the Dali kingdom.

Belonging to the Sung dynasty, the kingdom (937–1253 AD) was located in Yunnan, in the southwest of China, and became an important centre of tantric art in East Asia. Exhibiting a refined personal style, Dali images reflect the influence of esoteric Buddhism on Chinese culture. Similar appearances of a Bodhisattva are revealed in paintings of the period, in which the deity is wearing the same style dhoti, tiara and jewelry to the present example. The piece can be compared with a bronze in the Nitta Collection at the National Palace Museum, Taipei, and with a bronze of Vaishravana in the British Museum, London. The high content of copper in the alloy is in addition typical of the period. Executed with great imagination, this rare bronze is a classic icon; it has a wonderful presence, revealing a high level of emotion and spirituality.

Provenance:

Acquired in China during the French expedition of Major Henry Marie Gustave d’Ollone (1868-1945) in 1906-1909. He left with a

group of scholars to study the remote tribes along the western border of China. The expedition started in the southern province of

Yunnan. In total the expedition covered a parcours of over 8000 kilometres by horse.

Literature:

B. Miali D’Ollone, In Forbidden China-The D’Ollone Mission 1906-1909. China-Tibet-Mongolia, London, 1912.

Ch’in Hsiao-Yi, The Crucible of Compassion and Wisdom. Special Exhibition Catalog of the Buddhist Bronzes from the Nitta Group

Collection at the National Palace Museum, Taipei, Republic of China, 1987, fig. 99, fig. 100, fig. 103.

A. Lutz, Der Tempel der Drei Pagoden von Dali. Zur buddhistischen Kunst des Nanzhao-und Dali-Königreichs in Yunnan, China.

Museum Rietberg, Zürich, 1991.


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Torso of a Hindu GoddessCambodia, Angkor Vat early 12th centuryPolished sandstone, height 49 cm

This torso of a Hindu goddess echoes characteristics of the Angkor Vat physiognomic type. Fully modelled in the round, the figure’s features are precise and well sculpted. Her graceful body is depicted with a slender torso and full breasts. The classic Angkor Vat style sarong has numerous pleats, and a large asymmetrical fishtail extends down the skirt. The jewelry consists of two bracelets and a superbly designed necklace. In addition she wears a finely engraved belt knotted at the front. The stone braces at the back of the ankles were intended to support the weight of the statue.

Angkor Vat, the large temple built by Suryavarman II, is unrivalled in architectural greatness. This king not only expanded the Khmer empire, but also presided over the creation of a number of other monumental temples, comprising Beng Mealea and Banteay Samre. This sculpture was produced during his period, exhibiting all the classical features, masterfully carved from a fine piece of hard sandstone, polished and complemented by a beautiful natural patina. The divine presence of the torso derives from the perfection of volume and line, and the fine jewelry.

Provenance:


Literature:

M. Giteau, I Khmer. Sculture Khmer e la civiltà di Angkor, Milano, 1965, fig. 30.

K. Samén, Preah Neang Tévi, Collections du Musée National de Phnom Penh, Phnom Penh, 2005, fig. 42.


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SaptamatrikaIndia, Karnataka, Hoysala kingdom, 12th/13th centuryChlorite Schist, 60 x 30 cm

The seven mother goddesses, the saptamatrikas, are regarded important personifications of immense energy. Usually they are accompanied by Shiva to become popular icons of Saiva temples, and placed as lintels above an entrance. This relief carving portrays Shiva as the supreme master of dance, playing the vina to provide music. To his left are Brahmani, the four-headed counterpart of Brahma; Maheshvari, the sakti of Shiva; Kaumari, the sakti of Kumara; and Vaihnavi, wife of Vishnu. Brahmani’s hands hold the kalasa, the vase containing amrita, the elixir of immortality, and a mala (rosary).Seated in a powerful lalitasana posture, the goddesses are adorned with ornated karanda mukutas, necklaces, earrings, anklets and other ornaments, and nimbused by large lotus halos. Their animal vehicles are represented in square panels below the thrones. The Hoysala dynasty (circa 1000 -1346 AD) is well remembered for their beautifully carved temples. The kings from Karnataka were great patrons of art and culture, and managed to keep their kingdoms full of prosperity and stability. The sculptural and architectural style was different from the Cholas and the Chalukyas, revealing its own character with a remarkable arrangement of movements and ornaments.This sculpture incorporates smooth curving shapes and graceful movements, lending a lively tension to the work. Although the sculpture has a complex construction with lavish ornamentation, it transcends a consistant energy, full of inspiration.

Provenance :

Collection of Mr. and Mrs. J. W. Alsdorf, USA.


Literature:

J. Masselos, Dancing to the Flute. Music and Dance in Indian Art, Sydney, 1997, fig. 62.

J. Menzies, Goddess: Divine Energy, Art Gallery of New South Wales, Sydney, 2006, p. 108.


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Sadaksari Central Tibet, 13th centuryGilt copper alloy, cast by the lost wax method, height 59 cm

Sadaksari is an emanation of Avalokitèsvara, the god of compassion in the Buddhist world. This four-armed Bodhisattva evokes the sacred formula ‘Om mani padme hum’, the lotus is the jewel of creation, the propagation to obtain spiritual salvation.Depicted in a seated diamond attitude (vajraparyanlasana), the deity positions his front hands in the gesture of salutation (anjali mudra). In his raised hands he originally held a rosary and lotusflower. Sadaksari wears a long dhoti with extremeties being folded in front of his legs, and ornaments composed of earrings, necklaces, bracelets, armlets, and anklets. A small image of Amithaba, his spiritual father, is shown on the top of his hairdo, and an urna on the forehead symbolizes the spiritual elevation of his great being.

The development of early Tibetan Buddhism was predominantly based on classic northern Indian styles. Indian artists of the Pala dynasty inspired the native Tibetan sculptors, and Newari craftsmen from Nepal immigrated in Tibet to increase the high quality production of early Buddhist bronzes. This impressive bronze is among the finest known examples of Central Tibet. Characterized by beautiful volumes, a powerful posture and masterfully designed jewelry, the image is cast in several parts, revealing a technique common for early Tibetan bronzes. The unsurpassed quality and momumental scale underline the statues importance in serving a monastery. The excellent condition with still its original gilding complements the lively and inspired expression of this rare masterpiece.

Provenance:

Collection of Mr. J. F. G. Boom, Paris, ca.1947-1953.

Collection of Mr. Dr. B. K. Boom and Mrs. M. L. Sybrandi, the Netherlands, 1953-1978.

Collection of E. D. Baroness van Heerdt tot Eversberg M. A ., The Netherlands, 1978-2011.

Literature:

U. Von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, p. 428-429, fig. 112F.

Ibidem, Buddhist Sculptures in Tibet, II, Tibet & China, Hong Kong, 2001, p. 1133, fig. 317A.


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Buddha AksobhyaTibet, 15th centuryGilt copper alloy, cast by the lost wax method, height 29 cm

Aksobhya is one of the five cosmic Buddhas transforming the dangerous human affliction of anger, one of the most potent obstructions to enlightenment, into perfection and wisdom. The Buddha sits in vajrasana and holds his right hand in bhumisparsa mudra, calling the earth to witness his victory over the god Mara, who was his last obstacle to his attainment of perfection. His left hand rests in his lap in dhyani mudra, the gesture of contemplation. An urna, the sign of illumination, is shown on his forehead, and his head is covered with large curls of hair and an ushnisa, the symbol denoting wisdom. Dressed in a finely engraved monks robe, his open and elongated earlobes reflect his royal origins.

The stylistic characteristics of this fine Central Tibetan temple bronze are the elongated lines of the eyebrows, the engraved patterns, the almond shaped eyes, the open earlobes, the strings of pearls, the shape of the ushnisa, the fleshy cheeks, and the well sculpted hands and feet. The inspired concept reveals a harmonious construction of volumes and lines, making every part of the body radiate with Buddha’s inner life. An intense energy streams through his shoulders and arms, emerging the wonderful touch of his right hand, to end with striking tension.

Provenance:

Collection of E. D. Baroness van Heerdt tot Eversberg M. A., The Netherlands, 1978-2011.

Literature:

H. Uhlig, On the Path to Enlightment. The Berti Aschmann Foundation of Tibetan Art at the Museum Rietberg Zürich, Zürich, 1995, p.

72, fig. 30.

U. Von Schroeder, Buddhist Sculptures in Tibet, II, Tibet & China, Hong Kong, 2001, p. 1189-1190, fig. 321C-D and fig. 322A.


46

Manuscript Cover with the five Thatagatas Tibet, 14th centuryWood, gilded, polychromes, 87,5 x 34,5 cm

Manuscripts are important vehicles for the transmission of Buddhist teachings. Tibet has emerged as an influential school, where its teachers preserved and continued the lineage of their spiritual, philosophical and literary knowledge. They are originally executed with text pages of paper leaves, stacked one on top of another, which become fragile with age. Covers carved from hardwood were placed above and below, protecting the sacred Buddhist texts. The cover portrays the five Thatagatas, the cosmic Buddhas; Aksobhya, in the centre, holds his right hand in bhumisparsa mudra, Amoghasiddhi holds his right hand in abhaya mudra, and Rathnasambhava holds his right hand in varada mudra. Amithaba is the oldest of the Buddhas in meditation, and Vairocana holds his hands in dharmacakra mudra. The Buddhas are adorned with a crown and jewelry, and sit in vajrasana on a single lotusthrone. They are dressed in a fine dhoti and depicted with elongated ears and an ushnisa. A large nimbus is carved behind them and large lotusleaves border the central panel. The left edge of the cover has a depiction of a kirttimukha.

Buddhism was introduced in Tibet in the seventh century, and inspired Tibetan monks to travel to India and across the Himalayas to study and develop Buddhist teachings, and to translate Sanskrit works into their own language. By the fourteenth century, a large number of monasteries were erected with their own library. The typical stylistic characteristics of the cover are the pronounced foliate motifs, the style of the nimbuses, the lotus thrones with large leaves, the three-leave crowns and the shape of the ornaments.This manuscript cover is among the largest known examples and reveals the superiority of early Tibetan craftsmanship. Masterfully carved with pronounced forms, natural volumes and fine movements, it is still in a good state of preservation, and complemented by a lively rhythm of floral motifs and by fine original gilding.

Provenance:


Literature:

D. Weldon, Early Tibetan Manuscript Covers, 12th-15th century, Rossi & Rossi Publications, London, 1996, fig. 30.

P. Pal, Asian Art at the Norton Simon Museum, II, Art from the Himalayas & China, Singapore, 2004, p. 182, fig. 124.


48

ParvatiIndia, Tamil Nadu, Vijayanagar 14th centuryBronze, cast by the lost wax method, height 46,5 cm

Parvati, the goddess of love and devotion, is an important Hindu deity symbolising the power of realisation and transcendent knowledge. She sits in lalitasana (royal ease) on a large lotus throne, her raised right hand originally holding a water lily, a symbol of grace and beauty. The goddess is dressed in a pleated dhoti, and a bejewelled hip band, and fingers adorned with rings take their own position. Ornaments include mukutas, earrings, four necklaces, a dhoti, bracelets and anklets, a large nimbus frames the head, and a jaynopavita, the sacred Brahmanical cord runs diagonally across her body. The holes in the throne indicate that the bronze was intended to be used in processions.

Based on Chola traditions, the art of Vijayanagar is characterized by its high level of casting and artistic conviction, and some bronzes of the period are among the finest works southern India produced. This image of Parvati is still closely related to Chola-style bronzes and bears typical characteristics of the early Vijayanagar period: the flowers above the ears, the shapes of the conical karandamukuta and meditation cords, the engraved patterns in the dhoti, the typical prominent nose and mouth, and the chiselling. This impressive bronze is distinguished by a superb movement, detailed casting, and good proportions. The face of the goddess is radiantly alive, expressing extraordinary serenity. The natural greenish patina complements the high aesthetic quality of the bronze.

Provenance:

Collection A. Rudolph, New York, USA, 1960s –1970.

Collection P. Silverman, London, England, 1970–1980s.

Private collection USA, 1980s–2011.

Literature:

B. Venkataraman, The Pinnacle of Chola Art, Mudgala Trust, 1982, fig. 40B.

P. R. Srinivasan, Bronzes of South India, Madras, 1994, fig. 240.


50

ParvatiIndia, Tamil Nadu, Vijayanagar 14th centuryBronze cast by the lost wax method, height 46,5 cm

52

DakiniTibet, 15th centuryGilt copper, cast by the lost wax method, inlaid with stones, height 14 cm

Dakini is one of the most important goddesses of the tantric Buddhist pantheon, involved with siddhi, superhuman forces which she uses to destroy evil spirits. She is the embodiment of enlightened energy and the sakti of the Buddhist protectors Hevajra and Samvara. In Tibet, the art of dance has always been closely associated with that of sculpture, inviting artists to portray an image of energy, derived from the repertoire of a dancer. The present statue has transformed the dynamic rhythm of nature expressively into a human figure.

The goddess is depicted with her total weight balancing on her left foot, and all parts of her graceful body are engaged in ardhaparyankasana, the dancing attitude. A seal at the back suggest the figure still contains prayer rolls. Referring to her victory over demons, she wears a diadem and a garland made of small skulls, and an urna is shown on her forehead. Her left hand depicts a magical staff, and her raised hand holds a cakra, the wheel of Buddhist law. The ears are elongated and adorned with earrings, and her eyes are well marked with open pupils. Typical of the South Central Tibetan Tsang style are the fine casting in copper alloy and the yellowish gilding. The sculpture reveals influence from the Nepalese Newari’s, who were great craftsmen in bronze casting techniques.The importance of the image is emphasized by rich jewelry consisting of a necklace, armlets, bracelets, anklets and beautiful ornamentation. Two strings of her long and curly hair fall onto the shoulders, and the fine original gilding and patina complement the expressive sculpture.

Provenance :

Collection Mr. E. van der Leeuw, The Netherlands.

Collection Mr. H. Gadella, France.

Literature :

U. Von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, p. 428-429, fig. 115A.

P. Pal, A Collecting Odyssey. Indian, Himalayan, and Southeast Asian Art from the James and Marilynn Alsdorf Collection, The Art

Institute of Chicago, Chicago, 1997, p. 206.


54

Phurba Tibeto-Chinese, 15th to 16th centuryGilt bronze, cast by the lost wax method, iron, height 9,6 cm

The phurba in Tibet is regarded a magical ritual dagger. Padmasambhava, the founder of Buddhism in Tibet, is considered the inventor of the implement. Phurba is a Tibetan rendering of the Sanskrit word kile, meaning peg or nail. By stabbing the dagger in the earth, it was thought to capture and bind the evil spirits. The mystical power of the phurba is ritually invoked to subdue negativity and malicious influence, which are captured as the weapon is erected in its central position in a mandala.

Three terrifying heads represent each a dharmapala, a Buddhist protector. Guarding all directions, they are depicted with a snarling mouth and bulging eyes, and adorned with a crown and earrings, their flaming hair topped by a half vajra. The handle consists of a dubble row of lotus leaves set between two endless knots, the mystic diagram symbolizing the endless of the rebirths. A trilobate blade emanates under the jaws of three makaras.Characterized by extremely fine gilt bronze casting and exquisitely rendered details, this outstanding miniature ritual object is of a perfect construction. It is a masterpiece in its kind, revealing an intense and inspired expression.

Provenance:

Private collection Switzerland.

Literature:

J. Casey, N. Parmeshwar Ahuja, and D. Weldon, Divine Presence. Arts of India and the Himalayas, Milan, 2003, p. 160.


56

Gtsangpa Heruka Tibet, late 15th to early 16th centuryBronze alloy, cast by the lost wax method, inlaid with electrum and copper, traces of blue polychromes, height 19.5 cm

Gtsangpa Heruka (1452-1507 AD) was a South Tibetan Mahasiddha, an eminent tantric teacher (Heruka) in possession of supernatural powers. The siddha sits in lalitasana on an animal skin whose head and front legs bend over a double lotus throne. He is depicted with a moustache and beard, and long hair knotted into a chignon covered by an ornamented headdress. An ankle-length garment is finely engraved with floral patterns, and decoration exists of large spiral shaped earrings, a separately made necklace, a double string of pearls, bracelets and ornaments. A vajra is shown in his raised right hand and the left hand holds a tsebum, the vase containing immortal elixir. An extensive inscription at the back of the finely rendered double lotus throne provides the name of this Yogi, it reads: ‘Rje.btun Gtsang.pa Heruka.la Na.mo. Grub.chenBsam.grub Rgyal.mtshan thugs.dgongs rdzogs.phyar’, translated: ‘Salution to Gtsang.pa Heruka, made in memory of the Siddha Bsam.grub Rgyal.mtshan’.

Tucci published a mural painting of the Saskyapa monastery of Rgyal.rtse (second half of the fifteenth century) depicting a man with a similar physiognomy to this bronze and inscribed with the same name. The fine metal alloy, the stylistic characteristics, and the inspired presence, all indicate that the bronze originated in South Central Tibet. The Heruka’s unconventional behaviour invited Tibetan artists to portray him with lively imagination and originality of expression.

Provenance:

Collection Spink and Son Ltd, London, 1970s.

Collection Mrs. Joke van Wely, The Netherlands 1980-1998.

Collection of Mr. E. Vermathen, The Netherlands 1998-2010.

Published:

A. Neven, New Studies into Indian and Himalayan Sculpture, Exhibition De Ruimte, Spink & Son/Nies, Eersel, 1980, fig. 133.

Literature:

G. Tucci, Gyantse and its Monasteries, Indo-Tibetica, IV 3, New Delhi, 1989, fig. 91.

C. L. Reedy, Himalayan Bronzes. Technology, Style, and Choices, 1997, fig. 171.

D. Weldon and J. C. Singer, The Sculpture Heritage of Tibet. Buddhist Art in the Nyingjei Lam Collection, London, 1999, fig. 42.


58

Buddha SakyamuniThailand, Kingdom of Lan Na 16th centuryBronze, cast by the lost wax method, height 86 cm

This seated image is one of the most significant depictions of the historical Buddha Sakyamuni, representing the moment he attained enlightenment. With his right hand he touches Mother Earth, indicating his subjugation of Mara, god of desire, who had endeavoured to distract Sakyamuni in his meditation and was the last obstacle on his path to perfection. The ushnisa, denoting wisdom, rises from his curl-covered head, and elongated earlobes reflect his royal origins. He wears a sober monastic robe that leaves his right shoulder and arm uncovered.

Lan Na was a powerful kingdom from its founding in the late thirteenth century to its capture in 1556 AD. The cultural centre was the city of Chieng Mai, founded in 1327 AD. Influenced by the art of Indian Pala and Sukhothai, Lan Na stylistic characteristics are evident in the arched eyebrows, downcast eyes, contoured lips and chin with incised semi-oval line. The oval face, the shape of the throne, and the folded shawl of the sanghati which falls to the navel, are in addition typical of the period. Comparisons with dated Buddha images bearing an inscription allows this sculpture to be attributed to the sixteenth century. The serene and peaceful expression of this Buddha, reveals his state of spiritual enlightenment. The bronze is a classic example of its style, finely cast and with a beautiful natural patina complementing its lively dimension. With pure volumes, beautiful contour, and balanced proportions it is among the best examples of its kind.

Provenance :

Private collection, Rome, Italy.

Literature:

A. B.Griswold, Dated Buddha Images of Northern Siam, Atribus Asiae, Switzerland, 1957.

S. Lopetcharat, Thailand, A History in Buddha Image, vol. I, Bangkok, 2005, p. 223.

M. Nies, Majesty of the Sacred, Antwerp, 2007, p. 52-54.


60

BuddharajaThailand, Kingdom of Ayudhia 16th centuryBronze, cast by the lost wax method, height 104 cm

This image of the historical Buddha stands with his right hand raised in abhayamudra, the gesture of banishing fear. The half-closed eyes are set beneath continuous eyebrows, the nose is prominent and the mouth is well defined, gently smiling above the engraved chin. His majestic appearance is emphasized by a superbly designed crown, with the ushnisa, indicative of spiritual wisdom, rising above it. The finely stylized uttarasangha covers both shoulders and is decorated with a large necklace attached to a rich ornament covering his navel. Bracelets and elongated earlobes with earrings reflect Buddha’s royal origin.

The Kingdom of Ayudhia was founded in 1351 AD. and occupied most of present-day Thailand. Until its destruction by the Burmese in 1767 AD., it was one of the richest and most powerful kingdoms in Southeast Asia. The city had numerous pagodas and was encompassed by a great stone wall, over six miles in length. During the Ayudhia period, bronze casting techniques in Thailand reached their highest levels. This temple statue has typical characteristics of the period, revealed by the masterful casting, the fine jewelry, the crown, and the superbly stylized facial features. Noteworthy are the statues pure volumes and perfection of contour; complemented by a beautiful natural patina they create their own aesthetic.

Provenance:



Test:

Thermoluminescence Expert Evaluation by QED Laboratoire, O.Langevin, Ref. n°QED1035/BB-0802.

Literature:

J. Boisselier, The Heritage of Thai Sculpture, New York, 1974, p. 202.

P. Krairiksh, The Sacred Image. Sculptures from Thailand, Museum for East-Asian Art of Cologne, 1979, fig. 67.

S. Lopetcharat, Thailand, A History in Buddha Image, I, 2006, p. 590 and p. 628.


62

MahakalaTibeto-Chinese, early 18th centuryBronze, cast by the lost wax method, height 51 cm

Mahakala is regarded as a wrathful protective manifestation of Shiva, converted to Buddhism to become one of the most significant dharmapalas. Known as ‘the lord of eternity’, he swallows all stages and cycles of time and dissolving every being into eternity.Depicted with six arms, the deity symbolizes the attainment of the six perfections: generosity, patience, morality, diligence, meditation and wisdom.

This fierce guardian steps vigorously to the right in pratyalidha, and is portrayed with a terrifying face, protruding eyes, a large urna, a flamed moustache, bushy eyebrows, with a snake and a vajra emerging from the flaming hair. The divinity is adorned with a complex necklace with pearled garlands and a bejewelled belt holding a tiger skin in place. The head of the tiger is prominently shown at the reverse of the sculpture to intensify the god’s terrifying appearance. Bracelets and anklets are made up of snakes, allusive of Shiva’s aspect, and the wheel of Buddhist law is depicted on his large belly.With striking movement and powerful posture this large bronze Mahakala is a wonderful example of a protector deity. The whole composition is convincing and inspired, revealing natural volumes combined with refined jewelry. Feet, fingers and arms take their own place and strengthen the expressive energy the god transcends. The surface exists of a fine natural dark patina with remains of polychromes.

Provenance:

Collection Mr. Ph. Goldman, London, 1960s.

Published:

Tantra, Haywood Gallery, Arts Council of Great Britain, London, 1971, fig. 229.

Literature:

U. Von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, p. 545, fig. 154F.

M. Rhie and R. Thurman, Wisdom and Compassion. The Sacred Art of Tibet, London, 1991, p. 68, fig. 1.


Colophon

© 2011 MARCEL NIES, ANTWERPEN

Photography - Ferry Herrebrugh, AmstelveenPrinting - Antilope, Lier, België

Acknowledgements - Catrine Cauwe and Eva Puelinckx

OM MANI PADME HUM

Om Mani padme hum

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