14th century
Copper alloy
38 cm
Provenance
Private Collection, Oregon, 1997
Christie’s, New York, March 2014
Private Collection, Milan
Publications
Himalayan Art Resources, item no. 30578
Tibetan art and the Bon tradition
Tibetan art of the 14th century developed within a complex interaction between Buddhism and the indigenous Bon tradition.
Bon, predating the introduction of Buddhism in Tibet, contributed to a rich and layered iconographic system in which both traditions influenced each other.
This sculpture of Kunzang Akor is a rare example of Bon sculptural production.
Iconography and symbolism
The deity is depicted seated in dhyanasana on a double lotus throne.
The hands rest in the lap in a gesture of meditative concentration, while the downward gaze conveys deep introspection.
The figure wears a fitted dhoti and is adorned with finely crafted jewellery, indicating high spiritual rank.
An elaborate crown frames the voluminous topknot.
Attributes and meaning
Lotus motifs rise at the sides, supporting a swastika and a ritual vase.
- the swastika symbolizes cosmic stability and eternity
- the vase represents spiritual abundance and realization
Kunzang Akor is associated with Shenla Okar, a primordial Bon deity.
Although often marked by the sacred letter “A” on the chest, its absence here does not affect the identification.
Bon sculpture and artistic language
In Bon tradition, metal sculpture plays a particularly important role compared to painting.
Its three-dimensional presence enhances the ritual and meditative function of the image.
Context and collecting
Bon sculptures from medieval Tibet are relatively rare and highly valued.
This work reflects the dialogue between indigenous Tibetan religion and Buddhism.
It belongs to the broader field of Himalayan art, alongside Gandharan and Nepalese works.
