Superb, Large, Ornate, Inscribed Shan Bronze Buddha

This Buddha from the Shan states of eastern Burma, is larger and finer than most examples we have seen. It also has a finely worked dedicatory inscription in Shan script to the front of the base.

The casting of this example is more complex than most with intricate detailing most particularly to the robes, and with unusually prominent wrist bone, especially prominent on the right hand. where the bone has been cast such that it protrudes out in an unusual manner.

The Buddha has been cast sitting in the ‘earth touching’ or bhumispara position, also known as the ‘calling the earth to witness’ pose, whereby the Buddha, seated in meditation under the Bodhi tree on the evening before his enlightenment, is challenged by the demon Mara to prove that he had given alms. The Buddha touched the ground with his right hand and asked the earth to bear witness to his past good deeds (Fraser-Lu & Stadtner, 2015, p. 152).

The image has been cast as a single piece with the elongated features often seen among Shan Buddha images. The head tilts slightly forward, the eyes are half-closed, there are double lines to denote the eyelids which are crenulated in an especially well-observed manner, and the eyebrows flow down to the contours of the nose.

The nose is prominent and flared. The lips turn up slightly at the corners suggesting a slight smile. The ears are highly elongated and rest on the shoulders – they are those of a prince – they have been stretched from the weight of heavy and thus costly gold earrings. The hairstyle is akin to neat rows of peppercorns.

The image wears the simple robes of a monk. His right shoulder is almost bare other than for pleats of the robe that are piled across the top of the shoulder.

He sits on a high, tiered throne that is sharply waisted in the middle, with the top half etched with lotus petals. Such thrones are characteristic to Burmese and Shan Buddha thrones.

The elongated bud-like jewel to the top of the Buddha’s head is also peculiar to Burmese and Shan images and seems to have its origins in seventeenth century representations of the Buddha (Lowry, 1974).

There is a dedicatory inscription to the front of the base rather than to the back, which is more usual. Perhaps this is more suggestive of the higher quality of this particular bronze – the commissioner or donor did not want the inscription hidden away. The inscription is most probably contemporary or possibly later.

The image is in excellent condition and has a dark patina. It sits evenly, without rocking. Overall, the image is one of the best examples of this type we have seen. The casting is superior and the attention to small details and the additional detailing all mark this out as an important commission.

The crevices contain ample traces of red pigment or vermilion used to anoint the image as an act of merit.

The image was acquired in the UK and no doubt arrived in the UK during the colonial era.