Finest Tibetan Gilt Bronze Buddha of Naá¹­yavighna. Chinese Gilt Bronze Tibetan Bodhisattva figure of NatyaShastra Naá¹­yavighna Buddha. Peaceful face, he has one face and fourteen hands, the top of the head is marked with a vishvavajra-Victorious Crown Ornament, with cold gilt serene face, with eyes and lips, giving peaceful appearance, body painted naturally over cold gilt bronze. Inlaid stones in vivid tones color. The fourteen hands hold an auspicious nectar vase, a visvavajra, supreme generosity, a vajra lasso, skull cups, bestowing protection, auspicious nectar vase, utpala with vajra, complete with silks and jewel ornaments. Adorned with flowing silks of various garments and jewel ornaments, tiara and the like. The figure is stand at Chapastana position upon a oval lotus pedestal, the left leg carrying the weight with bended knee symbolized the bow; the other leg pulled up against the body, symbolized the arrow. Standing upon a archaic myth beast in relax position, raised on moon disc and double lotus throne pedestrian. The bronze is bright and lustrous as the light is easily reflected from the well-polished surfaces. The plaques split in the middle section, and fitted perfectly upon each other. There is a light grey patina noted in several creases.


The underside with incised Quadra-petal flori-form visvavajra mark and centralized DaiJi


Measurements: Height 13" Width: 9"

Lot Notes:

Naṭyavighna is the Sanskrit name for a group of deities to be worshipped during raṅgapuja, according to the Natyashastra 3.1-8. Accordingly, the master of the dramatic art who has been initiated for the purpose shall consecrate the playhouse after he has made obeisance (eg., to Naṭyavighnas). Is an ancient Indian treatise on the performing arts, encompassing theatre, dance and music. It was written during the period between 200 BCE and 200 CE in classical India and is traditionally attributed to the Sage Bharata. The Natya Shastra is incredibly wide in its scope. While it primarily deals with stagecraft, it has come to influence music, classical Indian dance, and literature as well. It covers stage design, music, dance, makeup, and virtually every other aspect of stagecraft. It is very important to the history of Indian classical music because it is the only text which gives such detail about the music and instruments of the period. Thus, an argument can be made that the Natya Shastra is the foundation of the fine arts in India. The most authoritative commentary on the Natya Shastra is Abhinavabharati by Abhinavagupta.