Exceptionnelle statuette de Tara en bronze doré Népal, XIIIE siècle

la divinité protectrice debout en tribhangasana sur une petite base ovale, le gracieux déhanché accentuant ses courbes voluptueuses, les bras reposant délicatement le long du corps, la main droite pinçant du bout des doigts un fruit, et la gauche tenant une longue tige de lotus s'épanouissant près de l'épaule, la tête légèrement penchée surmontée d'une tiare à trois pointes, la chevelure retenue en un large chignon planté d'un bijou en forme de flamme laissant dépasser deux mèches de part et d'autre de la nuque et une frange soigneusement coiffée de petites boucles, le visage serein au nez aquilin et aux lèvres charnues, le corps drapé d'un fin dhoti asymétrique scintillant épousant parfaitement ses contours et ajusté par une ceinture, le cou, les bras et les pieds arborant de précieux bijoux incrustés de pierres fines et verre coloré, fixée sur une base en pierre

Acquired from Jean-Claude Moreau-Gobard, Paris, prior to 1966.

The figure is in overall very good condition. It is beautifully cast, elegant in its posture with slightly turned body, the details finely and crisply cast. The diaphanous tissue of the dhoti with finely chased scattered. The figure is fixed to a a stone pedestal by its base. The figure has not been cleaned and is slightly dusty. There are traces of malachite patina to the toes and feet of the figure. Several small inlays from the necklace, crown and arm cuffs are missing. There is minor wear to the gilding particularly to the face and breasts revealing the rich coppery alloy underneath. The left tip of the crown has been slightly pushed in, as well as the tip of the flame-shaped jewel on the topknot. The copper alloy is patinated to a rich dark tone, the gilding rich. Overall the colours of the copper and gilding are of a much more saturated/richer tone than the catalogue illustration suggests.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The sensuous quality of Newar sculpture is encapsulated in bronzes of the gods and goddesses of Nepal depicted standing in subtly flexed tribhanga, such as this rare gilt copper Tara. This Nepalese sculptural tradition is rooted in the Kathmandu Valley and dates from at least the seventh century, see Licchavi (ca 400-879) bronzes in Stanislaw Czuma, Indian Art from the George P. Bickford Collection, Cleveland Museum of Art, 1975, pls. 26, 27. The sophisticated casting, gilding and attention to naturalistic detail in this early Malla (ca 1200-1482) example epitomise the very essence of the finest Nepalese sculpture of the period. Newars, the indigenous people of the Kathmandu Valley, cast primarily in pure copper giving a characteristic warmth to the gilding and to the exposed areas of metal where the gold is rubbed. The inlaid jewel settings are typical of the Newar preference for subtle colour combinations of garnet and pastel glass.

The elegant, expansive posture and subtly downcast countenance embody the compassionate nature of the goddess Tara as Buddhist Saviour. The goddess is portrayed with a diaphanous bodice and sheer lower garment clinging to the youthful form: religious texts specify that the representation of a goddess be made in the image of a sixteenth-year-old maiden, cf. the youthful form and stylistic similarities of a thirteenth century Nepalese standing gilt copper Tara in a private collection, see Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, p. 345, pl. 88F.

Nepalese gilt bronzes depicting the goddess Tara are relatively rare compared with the renowned sculptures of Padmapani Avalokiteshvara, the predominant iconography of standing sculpture in the early Malla period. The Tara and the majority of the Padmapani Avalokiteshvara examples are portrayed with similar tribhanga posture and mudras, with the left hand holding the stem of a lotus flower, padma. Indeed Tara is considered to be a manifestation of Avalokiteshvara and is conceived by Buddhist practitioners as emerging from a white lotus bud on a lake formed from a tear shed by the bodhisattva over the suffering of sentient beings. Tara is worshipped by Buddhists to alleviate suffering and is especially invoked by travellers for protection.

It was during the thirteenth century, the period of this exceptional sculpture, that Nepal’s most celebrated artist Aniko (1244-1306) was called to Tibet and commissioned by the Sakya hierarch Phagspa (1235-1280). The Tara exemplifies the style and quality of Buddhist art with which Aniko would have been intimately familiar in his native Kathmandu Valley, and which was in turn admired and sought by Tibetan, and eventually Chinese, patrons. Phagspa introduced Aniko to Khublai Khan (1215-1294) in 1262, and by 1278 the artist had been appointed Controller of Yuan Imperial Workshops. Newar artists continued to be highly regarded in the imperial ateliers throughout the Yuan, Ming and Qing Dynasties.