Statue - Myanmar/Burma

Buddha Shakyamuni
Burma
Shan State, late 18th – 19th century
Bronze
21 cm height

A beautiful and expressive representation of the Buddha, originating from the Shan cultural area in eastern Burma and dating to the late 18th or 19th century. Cast in bronze, the sculpture stands out for the elegance of its silhouette, the richness of its incised ornamentation, and the remarkable graphic quality of its details.

The Buddha is depicted seated, legs crossed, on a tall, stepped architectural throne, characteristic of cult images from the region. The right hand descends along the knee, the fingers extended toward the earth in the gesture of calling the earth to witness, while the left hand rests in the lap, palm facing the heavens. This iconography evokes the moment of Awakening, when the Buddha calls the Earth Goddess to witness his merits against Māra’s temptations.

The face bears a particularly gentle expression. Broad forehead, almond-shaped, deeply incised and half-closed eyes, arched eyebrows, straight nose and mouth with a slight smile. The very long ears with stylized, engraved lobes frame the face and descend almost to the shoulders.

The hair is arranged in small, tight curls in strong relief, covering a high conical ushnisha, itself topped by a prominent terminal ornament in the shape of a button. The vigorous treatment of this coiffure contrasts with the smoother, more luminous surfaces of the face.

The monastic robe exposes the chest broadly and drapes diagonally over the left shoulder. Its edges are underscored by a rich incised decoration of chevrons, parallel lines, and scalloped motifs. This treatment continues on the reverse, where a long ornamental band descends vertically along the center of the back. The care given to this part, normally less visible, testifies to the maker’s decorative intent.

The throne fully participates in the architecture of the work. It is flared in shape and built in several successive registers, rhythmized by horizontal moldings and engraved geometric friezes—chevrons, wavy lines, and repeated motifs. Its pyramidal mass forms a strong counterpoint to the Buddha’s verticality, giving the whole a particularly balanced silhouette.

The bronze surface displays a beautiful old patina, bronze-gold in tone, darker in the recesses and punctuated in places by slight verdigris. The raised areas, naturally polished by time, reveal the warm hue of the metal. Some reddish traces also remain in certain hollows. The open base allows observation of the hollow casting and the core materials preserved inside, features of the traditional lost-wax casting process.

Through its serene face, its elongated proportions, the exuberant yet controlled coiffure, and especially the abundance of its engraved decoration, this sculpture fully belongs to the Buddhist tradition of the Shan States, whose workshops developed very personal regional interpretations of Burmese models.

Provenance: Kanaka The Collection, Portugal
Sent with certificate of authenticity

Sent with UPS