A Fine Gilt-Lacquered Wood Figure of Amida Nyorai - Carved and assembled wood, gilt lacquer, glass/crystal and metal - Japan - Mid Edo period

A Fine Gilt-Lacquered Wood Figure of Amida Nyorai

Japan, Edo period, 18th century
Carved and assembled wood, gilt lacquer, glass/crystal and metal
Height: approximately 63 cm

Finely carved and richly gilt, the figure depicts Amida Nyorai (Amitabha Buddha) seated in dhyanasana upon an elaborate multi-tiered lotus throne and architectural pedestal, the hands resting before the lap in mida no jo-in, the meditative mudra associated with Amida.

The Buddha is represented with a serene, introspective expression, the face sensitively modelled with gently arched brows, downcast eyes and softly pursed lips, flanked by elongated pendulous earlobes. The facial features retain their finely painted details, including the original inset eyes, an especially important survival.

At the centre of the forehead is the original inset byakugo, representing the urna or auspicious curl of hair between the Buddha's brows. Above, the hair is arranged in tightly modelled snail-shell curls over the domed ushnisha. The small reddish inset set into the upper hair corresponds to the nikkeishu the jewel or sacred protuberance associated with the ushnisha, here preserved with its original inlay.

The figure wears a voluminous monastic robe falling open at the chest and arranged in deeply carved, rhythmic folds across the shoulders, torso and crossed legs. The contrast between the dark lacquered areas and the extensive surviving gilding gives the sculpture a particularly rich and monumental appearance.

Behind the Buddha rises an impressive circular kohai, or aureole, composed of a broad gilt halo enclosing a stylised lotus element and surrounded by a radiating nimbus. Of particular note, the projecting rays are formed not in wood but in bronze, an important and refined construction detail which gives the mandorla both delicacy and durability.

The Amida is seated upon a highly elaborate lotus pedestal composed of successive registers of lotus petals, balustraded architectural elements, geometric ornament and scrolling foliate decoration. The lower section is especially richly carved with stylised cloud and vegetal motifs, retaining extensive original gilding against a dark lacquer ground.

The overall conception is particularly successful: the calm simplicity of the Buddha contrasts with the richly architectural pedestal and radiant aureole, creating the sumptuous visual effect characteristic of high-quality Edo-period Buddhist devotional sculpture.

Iconography

Amida Nyorai, the Buddha of Infinite Light, is one of the most important devotional figures in Japanese Buddhism and the central Buddha of Pure Land belief.

Devotees sought rebirth in Amida's Western Paradise, or Gokuraku Jodo, through faith and invocation of his name. Sculptures of Amida were therefore created for temples, private chapels and domestic devotional settings throughout the Edo period.

The mida no jo-in hand gesture seen here is particularly associated with representations of Amida in meditation and reinforces the figure's contemplative and salvific character.

-Important Original Details

The sculpture is particularly notable for the preservation of a number of important original elements:

Original inset eyes
Original byakugo/urna at the forehead
Original reddish nikkeishu inset to the ushnisha
Original bronze rays to the aureole
Extensive surviving original gilt lacquer
Elaborately carved original multi-tiered pedestal and lotus throne

The survival of these details contributes considerably to the integrity and visual quality of the sculpture.

-Provenance

Private Collection, Germany.

Condition

Very good condition considering the age.

The figure retains a highly attractive and substantially complete appearance, with extensive original gilding and lacquer decoration throughout.

There is expected age-related wear to the gilt lacquer, including areas of rubbing, surface abrasion, minor flaking and local losses. Minor age cracks and small chips are present, consistent with an 18th-century carved wood Buddhist sculpture.

The inset eyes, forehead byakugo and nikkeishu are preserved, while the bronze rays of the aureole remain an especially noteworthy original feature.

No condition issue significantly detracts from the overall appearance or presence of the sculpture.

A particularly elegant and richly preserved 18th-century Edo-period figure of Amida Nyorai, distinguished by the quality of its carving, elaborate multi-tiered pedestal, extensive original gilding, inset devotional details and exceptionally fine bronze-rayed aureole.