Period:Unknown Production date:14thC
Materials:brass
Technique:cast
Subjects:buddha
Dimensions:Height: 45 centimetres Width: 31.40 centimetres Depth: 25 centimetres
Description:
A figure in brass of a crowned Dhyanibuddha Akshobhya seated in earth touching posture (bhumisparsamudra) on a detachable lotus base of later date.
IMG
![图片[1]-figure BM-1984-0126.1.a-China Archive](https://chinaarchive.net/Unknown/43/mid_00218059_001.jpg)
![图片[2]-figure BM-1984-0126.1.a-China Archive](https://chinaarchive.net/Unknown/43/mid_00589036_001.jpg)
Comments:Zwalf 1985Seated on a more recent base, this crowned and ornamented figure, like no. 183, derives from eastern Indian traditions but is even more distinctively Tibetan. Many similar bronzes are recorded, with a prominent semicircular scarf sometimes attached by struts, as here, and twisted round the forearms. The scarves have Indian antecedents on Bodhisattvas and other deities and also occur in Central Asia and China. It would seem that the scarves usual on crowned and ornamented Bodhisattvas have been extended to the crowned and ornamented Dhyāni and Ādi Buddhas of Tibet, but on stylistic evidence it is less certain that this feature proves a western Tibetan origin as is often supposed.
Materials:brass
Technique:cast
Subjects:buddha
Dimensions:Height: 45 centimetres Width: 31.40 centimetres Depth: 25 centimetres
Description:
A figure in brass of a crowned Dhyanibuddha Akshobhya seated in earth touching posture (bhumisparsamudra) on a detachable lotus base of later date.
IMG
Comments:Zwalf 1985Seated on a more recent base, this crowned and ornamented figure, like no. 183, derives from eastern Indian traditions but is even more distinctively Tibetan. Many similar bronzes are recorded, with a prominent semicircular scarf sometimes attached by struts, as here, and twisted round the forearms. The scarves have Indian antecedents on Bodhisattvas and other deities and also occur in Central Asia and China. It would seem that the scarves usual on crowned and ornamented Bodhisattvas have been extended to the crowned and ornamented Dhyāni and Ādi Buddhas of Tibet, but on stylistic evidence it is less certain that this feature proves a western Tibetan origin as is often supposed.
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![[Qing Dynasty] British female painter—Elizabeth Keith, using woodblock prints to record China from the late Qing Dynasty to the early Republic of China—1915-China Archive](https://chinaarchive.net/wp-content/uploads/2022/11/image-191x300.png)
