AN IVORY CARVED SEAL IN THE FORM OF ANGULIMALA


Myanmar, 18-19th centurybearing an inscription 'Thura Kyaw Htin Bwè Naung Palè Khon Phya Min Tazeit' translating to 'The seal (tazeit) of Thura Kyaw Htin, Lord (Min) of Bwè Naung & Palè Khon Phya'ivory, traces of pigment in recessed areas of the base.9 cm. (3 1/2 in.) high
|緬甸 十八至十九世紀 央掘魔羅象牙篆刻印章Provenance:Private Collection, United KingdomLiterature:Four comparable 19th century ivory figures from Burma, of similar size and quality, can be found in the Indian Museum, Kolkata. Note the similarity in the rendition of the facial features, garments and proportions. See Bhattacharya, Ashok K. The Arts and Crafts of Myanmar: The Indian Museum Collection, 2006, fig. 37, 38, 39, p. 39-41 and Fraser-Lu, Sylvia. Burmese Crafts: Past and Present, 1994, p. 121.This delicately carved and pierced ivory seal projects power tempered by compassion. A dha (sword) is brandished over Angulimala's shoulders, making contact with his other, more terrible attribute, a necklace of nearly 1000 fingers. Once a bloodthirsty bandit, Angulimala is depicted here kneeling in acquiescence on an intricately pierced cushion of lotuses. The sacred flower is a recurring leitmotif in this piece, including on a traditional headband holding the figure's carved locks in place (Gombrich, Richard. How Buddhism Began: The Conditioned Genesis of the Early Teachings; Tricycle. Angulimala and Tantric Buddhism, 22 April 2011).According to the Pāli canon, an encounter with the Buddha and his redemptive presence were what converted and transformed Angulimala to a benevolent and protective icon (Gombrich, op. cit., Chapter 5). In modern Southeast Asia, he is held in regard as a patron saint of childbirth and fertility, with prayers and esteem offered to him by pregnant women (Wilson, Liz. 'Murderer, Saint and Midwife' in Refiguring the Body: Embodiment in South Asian Religions, Albany: SUNY Press, 2016, p. 285–300 and Gombrich op. cit., p. 135-136). Over the centuries, Buddhism has been the leading inspiration for much of Burma's artistic innovation. This, in tandem with the rich resources from pre-Buddhist animistic beliefs, a strong oral tradition of storytelling and an appreciation for elaborate ornamentation, has resulted in some of the most original and innovative artistic expressions of the region. Regarding the composition material, ivory in pre-modern Burma was only harvested from elephants that had died of natural causes, as they were more valuable alive for their use as beasts of burden (Tingley, Nancy. Doris Duke: The Southeast Asian Art Collection, NY: Foundation for Southeast Asian Art and Culture, 2003).