{"id":10618,"date":"2026-10-03T18:38:04","date_gmt":"2026-10-03T16:38:04","guid":{"rendered":"https:\/\/www.daltonsomare.com\/?post_type=approfondimento&p=10618"},"modified":"2026-10-03T21:33:40","modified_gmt":"2026-10-03T19:33:40","slug":"kashmir-sculpture-copper-alloy-images-in-the-western-himalayas","status":"publish","type":"approfondimento","link":"https:\/\/www.daltonsomare.com\/en\/insights-ancient-art-of-asia\/kashmir-sculpture-copper-alloy-images-in-the-western-himalayas\/","title":{"rendered":"Kashmir sculpture: copper-alloy images in the western Himalayas"},"content":{"rendered":"

The standing Buddha from western Kashmir<\/a>, dated to the ninth century and documented in the Dalton Somar\u00e9 archive, offers a close view of a tradition distinct from the sculpture of Nepal and Tibet. Made of copper alloy and measuring 22 centimetres, it brings the relationship between frontal presentation, bodily movement and the design of the robe into particular focus. The sculpture belongs to the artistic history of the western Himalayas, in which Kashmir played a leading role.<\/p>\n

The valley\u2019s position between northwestern India and the routes towards Central Asia encouraged the circulation of images, materials and expertise. John Guy\u2019s essay on Himalayan art traces the vitality of medieval production in Kashmir and the movement of its artists and works into neighbouring regions. This geographical perspective helps explain connections with Gandhara and Tibetan art while preserving the distinct solutions developed by each tradition.<\/p>\n

In the archival Buddha, the raised right hand forms the abhaya mudra, while the left holds the robe. The ushnisha, urna and elongated earlobes establish the subject; the slightly advanced right knee and the folds of the mantle articulate the pose. These features operate at complementary levels: iconographic signs identify the Buddha, while modelling, proportions and drapery reveal the regional interpretation. The robe follows the volumes of the torso and arms, joining the pattern of its folds to the structure of the body.<\/p>\n

A precise comparison is provided by the Metropolitan Museum\u2019s crowned Buddha, accession 1983.555.4<\/a>, also dated to around the ninth century and made of copper with silver inlay. Seated, it wears a three-part crown and has a small donor before its throne. Comparing it with the standing Buddha reveals two ways of constructing a sacred image within the same regional setting: the monastic robe and protective gesture in the archival sculpture; the crown, jewellery and relationship with a donor in the museum example.<\/p>\n

The familiar designation \u201cbronze\u201d deserves attention when describing these works. Catalogues distinguish copper from copper alloys, and objects do not necessarily share the same composition or finish. For the Dalton Somar\u00e9 Buddha, the recorded material is copper alloy. Considering technique, posture and ornament together provides a stronger basis for stylistic study than an isolated detail. Kashmir emerges as a tradition in which the shared repertoire of Buddhist art acquires a distinctive form through choices of modelling and surface treatment.<\/p>\n

References and comparative works<\/h3>\n

John Guy, \u201cArts of the Greater Himalayas: Kashmir, Tibet, and Nepal\u201d, Metropolitan Museum of Art, 2021.<\/a><\/p>\n

Metropolitan Museum of Art, Crowned and Jeweled Buddha, inv. 1983.555.4.<\/a><\/p>\n

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Related insights<\/h3>\n