Unknown
Buddha Shakyamuni17th century

Not on view

Gilded bronze standing figure with raised hand and elongated earlobes on a two-tiered silver-gray embossed metal pedestal, lit against a dark background

Gilt bronze standing figure in monastic robes, right hand raised with palm outward, left arm lowered with a small vessel; elongated earlobes, crown-like headdress, and incised decorative details on robe and lotus base.

Gilt bronze devotional figure, upper torso and head shown against a black background; figure wears a crown with curled hair, has elongated earlobes, and holds a small inscribed tablet in the right hand, with worn gilded surface revealing darker metal beneath.

Artist or Maker: Unknown
Title: Buddha Shakyamuni
Place Made: Laos
Date Made: 17th century
Medium: Gold and silver over wood core
Dimensions: 10 3/4 x 4 1/4 x 4 1/4 in. (27.3 x 10.79 x 10.79 cm)
Credit Line: Gift of The Ahmanson Foundation
Accession Number: M.81.10
Classification: Sculpture
Collecting Area: South and Southeast Asian Art
Curatorial Notes: The use of gold and silver to cast sculptures in mainland Southeast Asia and Indonesia is well known from various inscriptional records and geographical names mentioning gold are commonplace, such as U Thong (Cradle of Gold) in central Thailand. Few such solid precious metal images survive today. Most are presumed to have been melted down for their costly metal. More common than images cast in solid gold or silver were copper alloy or wooden images covered with gold or silver sheets. But even these have left few extant examples.

This standing image of Buddha Shakyamuni is made of sheet gold over a wood core. He originally had a cranial protuberance symbolizing his omniscience (ushnisha). He has snail curl hair and distended earlobes, which symbolize his renunciation of his princely life when he had long hair and wore heavy golden ear ornaments. He gazes downward and smiles with compassion. He wears a lungi with a floral decorated waistband and pendant flap, rather than a monastic robe that would have covered one or both shoulders. His left hand is held in the ‘fear-not’ gesture (abhaya mudra). His right hand is now missing, but judging from the position of the forearm it would have likely displayed the same gesture. The dual gesture was often displayed by Buddhas in Thailand, Cambodia, and Laos, but its specific meaning is unknown. The image’s tiered circular base is made of sheet silver over a wood core decorated with bands of scrolling lotus leaves and a repeating floral motif.

See also M.2005.213a-b.

Related Unframed

Unknown
Buddha Shakyamuni17th century

Not on view

Artist or Maker: Unknown
Title: Buddha Shakyamuni
Place Made: Laos
Date Made: 17th century
Medium: Gold and silver over wood core
Dimensions: 10 3/4 x 4 1/4 x 4 1/4 in. (27.3 x 10.79 x 10.79 cm)
Credit Line: Gift of The Ahmanson Foundation
Accession Number: M.81.10
Classification: Sculpture
Collecting Area: South and Southeast Asian Art
Curatorial Notes: The use of gold and silver to cast sculptures in mainland Southeast Asia and Indonesia is well known from various inscriptional records and geographical names mentioning gold are commonplace, such as U Thong (Cradle of Gold) in central Thailand. Few such solid precious metal images survive today. Most are presumed to have been melted down for their costly metal. More common than images cast in solid gold or silver were copper alloy or wooden images covered with gold or silver sheets. But even these have left few extant examples.

This standing image of Buddha Shakyamuni is made of sheet gold over a wood core. He originally had a cranial protuberance symbolizing his omniscience (ushnisha). He has snail curl hair and distended earlobes, which symbolize his renunciation of his princely life when he had long hair and wore heavy golden ear ornaments. He gazes downward and smiles with compassion. He wears a lungi with a floral decorated waistband and pendant flap, rather than a monastic robe that would have covered one or both shoulders. His left hand is held in the ‘fear-not’ gesture (abhaya mudra). His right hand is now missing, but judging from the position of the forearm it would have likely displayed the same gesture. The dual gesture was often displayed by Buddhas in Thailand, Cambodia, and Laos, but its specific meaning is unknown. The image’s tiered circular base is made of sheet silver over a wood core decorated with bands of scrolling lotus leaves and a repeating floral motif.

See also M.2005.213a-b.