An antique black and gilded Buddha in Bhumisparsha Mudra seen from an angle

The gilding of the Buddha shines in the darkness

The upper part of the Shan Buddha, head and shoulders.

A side view of the antique black lacquered and gilded wooden Buddha statue.

An antique Shan Buddha in gilded wood in Bhumisparsha Mudra posture seen from the front

The back of the head of the Burmese sculpture.

The Urna, in the middle of the forehead, replaced by the red Unalome.

A close-up of one of the knees and one of the hands of the ancient Myanmar sculpture, touching the earth as Buddha calls it to witness his enlightenment.

The underside of the Burmese statue hollowed from the mass.

Carved gilded wood Buddha seen from the front with dust and without its flame finial.

Shan Buddha in Bhumisparsha Mudra, Burma

€4600,00

Large votive image of the Buddha in lacquered and gilded wood, represented according to the Theravada tradition in bhumisparsha mudra. This votive statue of the enlightened one is characterized by a monumental presence and an expressive treatment of the face. A Shan sculpture distinguished by the richness of its surface and the intensity of its modeling.

Myanmar, Shan States, early 19th century
Dimensions: H 86 cm × W 55 cm × D 33 cm
Former Claude de Marteau collection, sold with certificate of authenticity.

1 available in store

Ref: 0006136-1 Categories: Latest arrivals, Himalayas and Southeast Asia Tags: Ancient Buddha statue | wood, Ancient Buddhas, Bhumisparsha mudra | Iconography of the Buddha's Enlightenment, Buddha Statue | wood - bronze - stone |, Claude de Marteau Collection – Buddhas and deities – Early sculptures, Sculptures and artworks from Burma Myanmar, Theravada Buddhism

Seated Shan Buddha in bhumisparsha mudra, gilded wood, Myanmar

At the center of the forehead, the urna is represented here by a stylized red unalome, a Buddhist spiritual motif evoking the path to enlightenment. It consists of a spiral (the initial movement of existence), loops (obstacles and learning), then an ascending line leading to a final point, symbol of illumination.

The Shan style is evident in this maravijaya statue through a full face with softened features and slightly compact proportions, typical of production from the princely states.

A comparable image is published in the work Burmese Buddhist Sculpture – The Johan Möger Collection, Otto Karow, White Lotus, p. 85.