STATUETTE DE TSONGKHAPA EN ALLIAGE DE CUIVRE DORÉ... Lot n° 19

STATUETTE DE TSONGKHAPA EN ALLIAGE DE CUIVRE DORÉ TIBET CENTRAL, XVE SIÈCLE Himalayan Art Resources item no. 4604 18.8 cm (7 3/8 in.) high Footnotes: A GILT COPPER ALLOY FIGURE OF TSONGKHAPA CENTRAL TIBET, 15TH CENTURY 藏中 十五世紀 銅鎏金宗喀巴像 Provenance: With Claude de Marteau, Brussels, by 1970s Je Tsongkhapa (1357-1419), the revered founder of the Gelug school of Tibetan Buddhism is presented here with great esteem, exemplified through characteristic features associated with other enlightened teachers, bodhisattvas and buddhas. Seated on a wide double lotus throne, he wears traditional garments of an esteemed master including a dhonka and patchwork robe incised with scrolling vines interspersed with floral buds and blossoms. Flanking either side of the lama on lotus flowers are the manuscript and sword, attributes of the Great Bodhisattva of Wisdom, Manjushri, who has conferred wisdom and skillful means on the master. The portrait merges with images of the Buddha, as the elongated earlobes and alms bowl pay tribute to the greatest of all Buddhist teachers. Tsongkhapa's portrayal is in visual union with all the great enlightened beings. The formality of the lama is at clear play with his more candid portrayal. The countenance of the face is charming, expressed in the laugh lines, plump cheeks, rounded nose and pointed chin having an impression of approachability and friendliness. The toes that peek from below the lama's robe relax any sense of stiffness of the body. This is similarly illustrated by another 15th-century bronze from Central Tibet sold in the Claude de Marteau Collection at Bonhams, Paris, 14 June 2022, lot 41. There is an overall enchanting quality and human tenor, which without these elements, may reduce this portrait to a generic type. As founder of the Gelug order, particular reverence through repetition can be seen in the proliferation of Tsongkhapa's portrayal, and yet this example shows a more sensitive modelling of the face and hands, offering a counterpoint between the realistic and idealized features of this lama. The idealized portrayal of Tsongkhapa and the stylistic variations can make it difficult to identify the master with certainty. Other examples of the lama include HAR 12476, which share similarities in the facial features, the modeling of the lotus petals, and the exposed toe, but are set apart with the inclusion of the alms bowl in this caste. As these are idealized images, without an inscription the identity can remain vague, and yet with certainty, it can be understood that lama portraiture, especially in consideration of the notoriety of Tsongkhapa, was an essential aspect of tantric visual tradition. The stylistic elements are consistent with 15th-century castings from Central Tibet. The lotus petals and base's tall foot specifically reference a mode coming from the atelier of Sonam Gyaltsen which flourished in Tsang province during the early-mid 15th century and can be compared to another lama portrait on HAR 11028. Moreover, Tsongkhapa's legacy, both historically and visually, was established during the 15th century in central U-Tsang region, making memorials of his likeness a testament to his amassed following which culminated in the founding of the Gelug order. For further information on this lot please visit Bonhams.com Very good condition overall, with minor dents to the flaming tips on the sutra and sword attributes. There are two minor stress cracks at the central petals of the lotus base. Faint dents and scratches to his proper left shoulder and back. Remains of cold gold to the chin and neck, black pigment to the hair, and red pigment to the lips. Remains of organic material within the bowl as a result of ritual use within the culture. The base is sealed with a later consecration plate. Please contact Sidney Lee (sidney.lee@bonhams.com) for related condition report images.