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Buddha Aksobhya Tibet 14th c. Bronze, fine copper alloy, cast in the lost wax method, traces of paint height 25,5 cm |
Akshobhya is one of the five cosmic Buddhas, the spiritual sons who emanated from the Adi Buddha. Regarded as the second dhyani Buddha, he is the embodiment of the cosmic element vijnana (consciousness) and represents the winter, the faculty of hearing and sound. The posture and meaning of this imperturbable Buddha are similar to that of the historical Buddha, Sakyamuni in his guise as the conqueror of the demon Mara. Akshobhya is the ‘lord of the east’, and transforms the dangerous human affliction of anger, one of the most potent obstructions to enlightenment, into perfection and wisdom. The Buddha is seated in vajrasana, the diamond posture. His right hand makes the bhumisparsamudra as he touches Mother Earth, calling on her to witness his victory over Mara, who was the final obstacle to his attainment of perfection. His left hand rests in his lap in dhyanamudra, the gesture of contemplation. On his forehead is the urna, the sign of illumination, and protruding from the crown of his curl-covered head is the ushnisha, symbol of his wisdom. Buddha is clad in a finely engraved monastic robe which leaves his right shoulder and arm uncovered. His elongated earlobes reflect his royal origins. This bronze is an early example of the art of central Tibet. The characteristics that help define this early style are the elongated line of the eyebrows, the engraved patterns, the almond-shaped eyes, the distended earlobes, the pearl edging of the robe, the shape of the ushnisha, the fleshy cheeks, and the pronounced sculptural volumes, in particular the hands and feet. The webbing of the fingers, clearly delineated between the thumb and index finger, is another indication of the period [1]. The inspired concept of this temple bronze reveals simplicity and purity, a harmonious melding of volumes and lines that makes every part of the body radiate with Buddha’s inner life. An intense energy streams through his powerful shoulders and arms, emerging in the wonderful touch of his right hand, to end with striking tension in his well modelled fingers. All these elements enhance the presence of a great and generous Buddha, an embodiment of serenity, wisdom and compassion. Provenance: Collection Family de Niet, Belgium [1] U. Von Schroeder, Buddhist Sculptures in Tibet, India & Nepal, I, Hong Kong, 2001, no 170C. |