Seated Buddha
19th century (made)
Artist/Maker | |
Place of origin |
The Buddha sits in the padmasana mudra (legs locked in the lotus position) on a double lotus throne which is raised on a low platform; it is decorated with scrolling variations of kya-hlan and kya-hmauk (upwards and downwards facing lotus petal patterns). His right hand is in bhumisparsa mudra (earth touching or witness position) and his left hand rests upturned in his lap in the dhyana mudra (meditation position). Following convention his earlobes are extended and his hair is tightly curled rising to an usnisha (top knot) surmounted by a small onion shaped finial.
He is dressed in monastic robes (bordered with inset pieces of mirror) which lie in folds over each knee, the right shoulder and down the front between the left shoulder and waist, one of these folds has an incised foliage pattern, leaving the right arm bare. His face is framed by raised fillet band.
He is dressed in monastic robes (bordered with inset pieces of mirror) which lie in folds over each knee, the right shoulder and down the front between the left shoulder and waist, one of these folds has an incised foliage pattern, leaving the right arm bare. His face is framed by raised fillet band.
Object details
Category | |
Object type | |
Materials and techniques | Core ? overlaid with <font -i>thitsi</font>-lacquer partly applied in <font -i>thayo</font> (relief moulded) partly set with mirror work. |
Brief description | Burmese Buddha in monastic robes seated in bhumisparsa-padmasana mudra on a double lotus throne. Konbaung Dynasty (1752-1885). Modelled in ? overlaid with gilded thitsi-lacquer, part thayo work and mirror work. probably late 19th century |
Physical description | The Buddha sits in the padmasana mudra (legs locked in the lotus position) on a double lotus throne which is raised on a low platform; it is decorated with scrolling variations of kya-hlan and kya-hmauk (upwards and downwards facing lotus petal patterns). His right hand is in bhumisparsa mudra (earth touching or witness position) and his left hand rests upturned in his lap in the dhyana mudra (meditation position). Following convention his earlobes are extended and his hair is tightly curled rising to an usnisha (top knot) surmounted by a small onion shaped finial. He is dressed in monastic robes (bordered with inset pieces of mirror) which lie in folds over each knee, the right shoulder and down the front between the left shoulder and waist, one of these folds has an incised foliage pattern, leaving the right arm bare. His face is framed by raised fillet band. |
Dimensions |
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Collection | |
Accession number | IPN.2645 |
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Record created | September 2, 2003 |
Record URL |
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