18th C Burmese Masterpiece – Alabaster Shan Buddha
18th C Burmese Masterpiece – Alabaster Shan Buddha
18th C Burmese Masterpiece – Alabaster Shan Buddha
This is a stunning 18th C Burmese Masterpiece – Alabaster Shan Buddha statue carved from a single block of white Burmese alabaster and covered in a rich layer of original gilding; this statue is both a powerful devotional object and a significant work showing the skills of the Burmese stone carver.
The Shwebo Era (1752–1782)
This Buddha statue dates to the Early Konbaung Period during the reign of King Alaungpaya 1752 – 1760. The highly decorative style reflects the transition between the Konbaung period and the Mandalay period. It is stalwart, powerful, and masculine. Shwebo-era carvings retains a “rugged” strength. The broad shoulders and upright posture reflect a kingdom at the height of its military confidence.
SPECIFICATIONS:
18th C Burmese Masterpiece – Alabaster Shan Buddha
This 18th-century Shan early Konbaung dynasty Royal King Buddha statue is a refined example of the Jambupati style, depicting the Buddha in royal attire. It is carved from solid white alabaster and finished with extensive gold leaf gilding; the Buddha statue captures the transition between the late Ava (Innwa) and early Mandalay periods.
Key Artistic Features
Royal Regalia: The crown is flanked by ornately carved side flanges with incised patterns on the arms and upper body depicting the jewellery worn by a king. Large pendant earrings hang from the earlobes with carvings representing rings on all fingers of the right hand and on the thumb of the left hand. The two-tiered crown features a prominent usnisha with a long-pointed finial typically seen in Shan style Buddha statues.
The Mudra: The Buddha is seated in Virasana with the right hand in Bhumisparsha Mudra (Earth Witness gesture), calling the earth to witness his enlightenment.
Material and Finish: The use of translucent white alabaster suggests a high-status commission. The gilding remains vibrant, highlighting the intricate floral and geometric incisions on the robe and base.
Facial Expression: The face exhibits the classic Shan aesthetic: a serene, youthful countenance with downcast eyes and a subtle, meditative smile that reflects internal peace.
