amoghsiddhi Buddha
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| Amoghsiddhi Buddha (?), Copper Alloy, ca. 17th/18th C.E. Tibet, Currently at Patan Museum |
The sculpture of Amoghsiddhi Buddha (?) is displayed at Gallery E of Patan Museum. It is made of copper alloy painted with cold gold and stone pigments. The sculpture is also inset by gemstone Turquoise. The dimension of the sculpture is about 31.5 cm high. It is dated ca.17th/18th C.E. and believed to be from Tibet. Corresponding to the Buddhist Iconography, Amoghsiddhi Buddha is also one of the embodiments of Pancha Buddha and considered as the fifth Tathagata of them in order. It is always facing north cardinal position in gesture of reassurance (Abhaya Mudra). The symbol of Amoghsiddhi Buddha is a Crossed-Thurderbolt (Vishwavajra) and the convenyance is a pair of Garudas. It is always represented with green character in painting. Sometimes it is also portray with seven headed serpent Muchalinda, one of the Nagrajas, guarding over the head of Amoghsiddhi Buddha. As other Tathagatas, it is also essential to the Vajrayana and Mahayana Buddhist doctrines as one of functions as Conformation (Saṅskāra) among five cosmic elements (Skandhas) of Vajradhara, the originator of Five Transcendent Buddhas (Pancha Buddha or Tathagatas).
The round sculpture of Amoghsiddhi
Buddha, with naturally turned out brown patina on the surface of copper
alloy as consequences of ecological factors, is modeled in perfect proportion
as well as is one of the best masterpieces of world Buddhist art. The sculpture
posses head with turquoise inset crown (Pancha
Mukut), which is precisely designed and lavishing, where few turquoises are
missing. The flying ribbon for tying the crown can be also seen as a part of
the crown behind the ears. The round petite cranial protuberance with plenty of
conch shape blue pigmented hairs are also drawn on its head. The square face
coated with cold gold bears half opened (Ardhaunmilan)
eyes painted with blue pigment on cornea and with red pigment in eye-line, eyebrows
painted with blue pigment, petite round patch on forehead depicts Urnakosh, long slender nose and meager lips
painted with red pigment. The tranquil face also has sleek cheeks and meager
tipped chin whereas the heavy earrings are bejeweled on its both lengthy
earlobes. The traditional Tibetan Buddhist statue clothing called Nha-ma-Tsa is placed on the wall behind
the head of Amoghsiddhi Buddha which
is not a part of the original sculpture but set aside for beautification and
probably later be dressed on as a shawl on its torso with Tibetan ritual. Its neck
wears a gigantic necklace which is also lavishing and precisely designed along
with pendants which entirely covers the shoulders and chest. The waist of the
sculpture is quite slender as a feminine character. It wears the translucent attire
from the left shoulder to the legs with simple hem on apparel alongside Chibar covering the left shoulder and its
Antaravasaka between the crossed legs
is beautifully and neatly creased. The right hand of it is in the gesture of explanation
(Vitarka Mudra) whereas the left hand
is placed on its lap with the palm drawn upward. The slenderer fingers are
poise balanced with precisely bent and genuinely shaped. Amoghsiddhi Buddha is seated in meditative posture (Vajraparyankasan or Vajrasan or Dhyanasan
or Padmasan) with the right legs crossing over the left leg, where the sole
of both feet are upwardly inclined. The toes of both feet show up with
liveliness so as to itinerary throughout its form. The sculpture is seated on
the triangular round shape pedestal with double tired prolific lotus with the
upper tired lotus facing upwards and lower tired lotus facing downwards. The
pedestal is surrounded by the petite spheres on the top representing the anther
of the blooming flower while lower pedestal is bordered by double solid rows
representing the orbit of the earth. Also there are a pyramidal wooden post
represents tree of life (Sogshing in
Tibet) painted with red pigment and inscribed mantras as OM HUM HA HRI with cold-gold; and full of paper rolls inscribed in
Tibetan script with Buddhist prayers, mantras and magic syllables along with sanctified
talismans, seeds and an apricot pit set inside the lotus pedestal (Slusser, 2013, p.143). Though public
cannot see these wooden post and paper rolls in the exhibition at the gallery. The
sculpture was created by applying the process of Lost Wax Casting (Si Lhoka Dhaleyayegu) and probably it
was modeled and cast by Nepali master sculptor in Tibet or exported to Tibet
from Nepal.
If intensely go after
the Buddhist Iconography, this particular sculpture showcased in Patan Museum
may not be Amoghsiddhi Buddha as
verified by the scholar Slusser since it must characterize the gesture of reassurance
(Abhaya Mudra) by its right hand; however
it is projecting the gesture of explanation (Vitarka
Mudra) by its right hand. Even though compare with several other images of Amoghsiddhi Buddha from stone Chaityas and metal sculptures as well as
Paubha paintings, there seem the
right hand of Amoghsiddhi Buddha is characterized
with the gesture of reassurance (Abhaya
Mudra). Hence, it may assumed to
be the sculpture of Kanakmuni Buddha (also
recognized as Konagamana in Pali and Sangs-rgyas gSer-thub in Tibetan), who is considered as fifth in order amongst
the Mortal Buddhas of Past Epochs Vipashwi
Buddha, Sikhi Buddha, Vishwabhu Buddha, Krakuchchhanda Buddha, Kanakmuni Buddha
and Kashyap Buddha respectively (Bhattacharyya, 1958/Reprint 1987, p. 76-77 & Olschak, 1973, p.186-187) and sixth in
order amongst the Nirmanakaya Representation
of Buddhas such as Dipankar Buddha,
Vipashwi Buddha, Sikhi Buddha, Vishwabhu Buddha, Krakuchchhanda Buddha,
Kanakmuni Buddha and Kashyap Buddha
respectively (Shakya, 1994, p.16-21), where
Shakyamuni Buddha comes after these
Mortal Buddhas of Past Epochs as well as with Nirmanakaya Representation of
Buddha (Bhattacharyya, 1958, p.76-77; Olschak,
1973, p.186-187 & Shakya, 1994, p.16-21).
In fact, the images of Mortal Buddhas
of Past Epochs or Nirmanakaya Representation
of Buddhas in the form of sculpture
or painting are quite rare in the world Buddhist art except the images of Dipankar Buddha and Shakyamuni Buddha. So, it is also complicated to confirm that the
particular sculpture displayed at the museum is of Kanakmuni Buddha. The scholar of Buddhist iconography, Bhattacharyya
also seems uncertain on the detail iconography of these Mortal Buddhas of Past
Epochs including the iconography of Kanakmuni
Buddha as explained in detail iconography of Five Transcendent Buddhas. In spite of that, the iconographic
text and illustrations presented by the scholar Olschak and the scholar Shakya alleviate
to assume that the sculpture might be of Kanakmuni
Buddha, who performs its hand gesture with its right hand in Vitarka Mudra and left hand lies upward
on the lap seated on bloomed lotus in the meditative posture with the right leg
crossing over the left leg, which is logically equivalent to this sculpture
displayed at the museum. But in this case Shakya, the scholar of Buddhist iconography,
also seems unsure since the iconographic text on the gesture of right hand of Kanakmuni Buddha and illustration
presented in his book are fundamentally diverse. Therefore, it is still indecisive
about accuracy of the title of this sculpture as the perception and research varies
according to the scholars and requires further more research to be carried out
for verifying the sculpture is of as Amoghsiddhi
Buddha or as Kanakmuni Buddha.
Dedicated to
Late Mary Shepherd Slusser
(The Eminent International Art & Culture Historian of Nepal)
Note
The dimensions of the sculpture is
taken from the book Patan Museum Guide due to the inappropriate
circumstances to re-measure the objects showcasing in the glass interior for
security purpose.
Image Source
The photograph from Patan Museum by
Tejesh Man Shakya
Bibliography
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Angeles: Los Angeles County Museum of Art & University of California Press.
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and Hudson Ltd.
Ridley, M. (1980). Buddhism. Kathmandu:Ratna Pustak Bhandar.
Shakya, M. B. (1994). The Iconography of Nepalese Buddhism. Kathmandu: Handicraft
Association of Nepal & ZDH/Technonet Asia.
Shakya, M. B. (2011). The Iconography of 108 Lokeśvaras. Lalitpur: Young Men’s Buddhist
Association.
Shakya, S. L. (2072 B.S.). A Study on
Buddhist Metal Images of Patan Museum and Image Making Techniques. Tribhuvan
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Unpublished.
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© All rights reserved by the Author Shanti L.
S. Bajracharya
Special
Thanks to
Prof.
Dr. Milan Ratna Shakya
Head
of Department
Central
Department of Buddhist Studies
Tribhuvan
University
Mr.
Suresh Lakhe
Acting
Head
Patan Museum
Mr.
Tej Ratna Shakya
Founder
& Foundry based Classical Sculptor
Foundry
Foundation Nepal
Mr.
Shishir Ratna Shakya
Founder
& Creative Head
Kala
Nest
RESEARCH DIRECTOR
TEJESH
MAN SHAKYA
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