AN INSCRIBED EARLY COPPER-INLAID BRONZE FIGURE OF SHAKYAMUNI BUDDHA TIBET, 12TH – 13TH CENTURY

seated in vajraparyankasana on a double-lotus throne with beaded edges, the right hand extended in bhumisparshamudra and the left in dhyanamudra, wearing a sanghati gathered on one shoulder, the robe bordered with a copper hem incised with foliate scrolls, the serene face with a meditative expression and downcast eyes, flanked by a pair of long pendulous ears, the head and domed ushnisha covered with tight curls and surmounted by an ovoid jewel, with Tibetan inscriptions on the reverse of the base and the back of the figure

Himalayan Art Resources item no. 13433

Arnold Lieberman, New York, mid 2000s.

Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklinger Hütte World Heritage, Völklingen, 25th June 2016-19th February 2017.
Buddha: 108 Encounters, Museum Angewandte Kunst, Frankfurt, 26th February-7th June 2015. 

Meinrad Maria Grewenig and Eberhard Rist, eds, Buddha: 2000 Years of Buddhist Art, 232 Masterpieces, Völklingen, 2016, pp. 358-359, cat. no. 152.
Stephan von der Schulenberg, et al., Buddha: 108 Encounters, Frankfurt, 2015, pp. 274-275, cat. no. 86. 

Very good overall condition. With traces of polychrome and cold gold at face, hair and neck. With accretion and scattered areas of surface abrasions. Original holes at base likely used to secure baseplate (now missing). Scattered areas of loss to base lip at reverse.
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This early sculpture depicting Shakyamuni Buddha represents the early phase of Tibetan Buddhist art during the Chidar, the Later Diffusion of Faith, that took inspiration from eleventh and twelfth century Pala period (ca. 750-1200) sculptural traditions of eastern India. The figure is ungilded, in common with the majority of metal sculpture from eastern India and in contrast to the popular gilt copper medium of metal sculpture from Nepal. This iconographic form of Shakyamuni Buddha, in which the historical Buddha is presented in the earth-touching gesture (bhumisparshamudra), recalls an episode from his spiritual biography in which he triumphs over Mara (maravijaya) just prior to his enlightenment.

The verso of the figure has a double inscription. At the back of the figure at heart centre are the vertical consecration syllables OM AH HUM. The inscription on the lower throne reads:

“[This is] the tutelary deity of the benefactor Tsül Seng.”

The Tibetan name Tsül Seng is an abbreviation, likely short for Tsültrim Senggé. It is possible that this may refer to an historical figure contemporaneous with the current work, Gyergom Tsültrim Senggé (1144-1204), which would support a thirteenth century dating. “The Great Gyer” Tsültrim Senggé was the founder of Shukseb Monastery and the Shukseb Kagyu lineage, and also the disciple of the renowned Phagmodrupa, the founder of Densatil Monastery.

Compare the elongated figure, narrow waist and tubular limbs; the distinctive double-tipped petal motif of each bulbous petal on the lotus throne; the copper-inlaid outer edge of the diaphanous sanghati; and the curled double-edges of the sanghati thrown over the proper left shoulder, with a thirteenth century bronze figure of Shakyamuni in the Jokhang/Tsuglakhang collection, see Ulrich von Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2001, vol. II,  p. 1173, cat. no. 313D. Also compare the gently sloping hairline, ovoid facial shape, raised urna, and the upward-curving eyes inlaid with silver with two further thirteenth century bronze figures of Shakyamuni, see ibid., p 1173, cat. nos 313B-C.