STATUETTE D'USHNISHAVIJAYA EN ALLIAGE DE CUIVRE DORÉ TIBET CENTRAL, XVE/XVIE SIÈCLE

STATUETTE D'USHNISHAVIJAYA EN ALLIAGE DE CUIVRE DORÉ
TIBET CENTRAL, XVE/XVIE SIÈCLEHimalayan Art Resources item no. 4601 23.8 cm (9 3/8 in.) high

A GILT COPPER ALLOY FIGURE OF USHNISHAVIJAYACENTRAL TIBET, 15TH/16TH CENTURY藏中 十五/十六世紀 銅鎏金尊勝佛母像Provenance:With Claude de Marteau, Brussels, by 1970sUshnishavijaya, whose name translates as 'the Victorious Crown Ornament', is a peaceful deity who bestows long life. Depicted with three distinctive faces and eight arms, the deity is crowned, jeweled and ornamented seated atop a double lotus throne. Each implement and gesture signify the giving of boons. The primary right hand holds the visvavajra, the symbol of indestructability. The second right hand holds an effigy of the Buddha Amitabha, whose name means 'Infinite Light', and whose emanation is Amitayus, represented by the vase containing the elixir of long life held in Ushnishavijaya's fourth left hand. The third arm at right holds an arrow signifying wisdom with the bow mirrored in the second left hand symbolizing compassion. The lower right hand is held in varada mudra and the third left arm is raised in abhaya mudra expressing gestures of generosity and assurance respectively. The multi-faced, many armed deity offers enduring protection and favorable rebirth to those who have devoted faith. Adhering to a 15th-century style, Ushnishavijaya shows a syncretic blend of Indo-Nepalese, Central Asian, and Chinese artistic traditions. While these stylistic exchanges were occurring earlier during the Yuan dynasty, their integration matured in the 15th century with a distinctive Tibetan style at its art historical peak. Political and economic support for these artistic developments partly came from the Early Ming emperors' patronage with Tibetan monasteries. The sending and receiving of gifts between the Early Ming court and Tibetan lamas which included texts, commentaries, silks and Buddhist imagery inspired a process of elaboration and refinement in Tibetan art, yielding casts like this delicate gilded sculpture of Ushnishavijaya. The qualities that harken back to earlier influences from India and Nepal include the lithe proportions of the body, the foliate triangular leaf crown, and the cabochon of turquoise and inlaid stones with heavy gilding which was popular in Nepalese artistic traditions. Skilled Nepalese metalworkers coming from the Kathmandu Valley had long been involved in workshops relating to specific monasteries throughout Tibet. These stylistic choices, especially in consideration of the overall layout of ornamentation can be compared to another Ushnishavijaya in the Rubin Museum of Art (C2005.16.22). While the garments and ornamentation are predominantly of Indian and Nepalese style, the modeled face, with its demure expression, is more definitively Chinese and can closely be compared to another tantric deity of Ratnasambhava in this sale (see lot 21) along with a Vairocana Buddha on Himalayan Art Resources (HAR 15711).