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Burma, 18th-19thcentury. Finely lacquered with gilt and black over a rich red ground, the Buddha is depicted seated in dhyanasana atop a high, tiered throne. It is decorated with a band of floral roundels and a central niche containing a finely carved figure of a kneeling donor. The Buddha’s right hand is lowered in bhumisparsha mudra, while the left rests in his lap. He is wearing the intricate patterned robes, jewelry and ornate tiered crown of a monarch with an elaborate flame-like aureole rising behind him. The serene face with downcast eyes and small lips forming a subtle smile.
Provenance: The Kienzle Family Collection, Stuttgart, Germany. Acquired between 1950 and 1985 by siblings Else (1912-2006), Reinhold (1917-2008), and Dr. Horst Kienzle (1924-2019), during their extensive travels in Asia. Subsequently inherited by Dr. Horst Kienzle and bequeathed to the Museum für Asiatische Kunst, Radevormwald, Germany. Released through museum deaccession in 2024. The Kienzle siblings were avid travelers and passionate collectors of Asian and Islamic art. During their travels, the Kienzle’s sought out and explored temples, monasteries, and markets, always trying to find the best pieces wherever they went, investing large sums of money and forging lasting relationships to ensure they could acquire them. Their fervor and success in this pursuit is not only demonstrated by their collection but further recorded in correspondences between Horst Kienzle and several noted dignitaries, businesses and individuals in Nepal and Ladakh. Their collection had gained renown by the 1970s, but the Kienzle’s stopped acquiring new pieces around 1985. Almost thirty years later, the collection was moved to the Museum für Asiatische Kunst, Radevormwald, opened by Peter Hardt in 2014. Before his death in 2019, Horst Kienzle bequeathed his entire property to Peter Hardt and legally adopted him as his son, who has been using the name Peter Kienzle-Hardt ever since.
Condition:Overall good condition with expected wear and manufacturing irregularities. Losses to a band, finger, the finial, aureole and lower base. With a hole to the back, a few scratches and stress cracks, and flaking to the lacquer. A rich smooth, naturally-grown patina.
Weight: 10.6 kg (excl. stand), 12.8 kg (incl. stand)
Dimensions: Height 86 cm (excl. stand), 90 cm (incl. stand)
With an associated wood stand. (2)
The founding of Shan States inside the present-day boundaries of Burma began during the Pagan Kingdom in the Shan Hills and accelerated after 1287 when the Kingdom fell to the Mongols. The Tai people, who came south with the Mongols, stayed, and quickly came to dominate much of the northeastern arc of Burma. The newly founded Shan States were multi-ethnic and included minorities such as the Chin, the Kachin, the Wa, the Ta'ang, the Lisu, the Lahu, the Pa O, and the Kayah. Although Burmanized Shans founded the Ava Kingdom that ruled central Burma, other Shan States, Mohnyin in particular, constantly raided Ava territories throughout the years. A Mohnyin-led Confederation of Shan States finally conquered Ava in 1527.
In 1555, King Bayinnaung dislodged Shan king Sithu Kyawhtin from Ava. By 1557 he went on to conquer all of what would become known as the Burmese Shan States under his rule, from the Assamese border in the northwest to those in Kachin and Shan Hills, including the two most powerful Shan States, Mohnyin and Mogaung. The Shan States were reduced to the status of governorships, but the Saophas (rulers) were permitted to retain their royal regalia and their feudal rights over their own subjects. Bayinnaung introduced Burmese customary law and prohibited all human and animal sacrifices. He also required the sons of Saophas to reside in the Burmese king's palace, essentially hostages, in order to ensure the good conduct of their fathers and to receive training in Burmese court life. Burmese kings continued this policy until 1885, when the Kingdom fell to the British. In the mid-18th century, the Burmese Konbaung dynasty's reassertion of the easternmost boundaries of Burmese Shan States led to war with China, following which eight of the Chinese Shan States were briefly occupied by the Kingdom of Burma. The Burmese success in repelling Chinese forces laid the foundation for the present-day boundary between Burma and China.
Within this layered political arrangement, the distinct Shan style of Buddhist art emerged: a localized sculptural idiom shaped by Tai traditions, courtly patronage, and cross-regional influences, including Mon, Burmese, and Lanna aesthetics. Though not coterminous with the Shan States themselves, Shan style sculpture flourished within their territories, often serving as expressions of religious devotion, regional identity, and elite legitimacy under shifting regimes of power.
Jambupati Buddhafigures such as this are dressed in the robes of a contemporary Burmese monarch. This relates to a legend, found both in Burma and Thailand, in which the unbelieving Indian king Jambupati was overawed by the Buddha. By appearing in magnificent royal robes, the Buddha demonstrated his great power and converted the king.
Literature comparison:
Compare a closely related lacquer wood figure of Jambupati Buddha dated to the 18th century, 99.1 cm high, in the Kaba Aye Buddhist Art Museum,Yangon, museum number71-1387.
Auction result comparison:
Type: Closely related
Auction: Christie’s Amsterdam, 18 October 2005, lot 116
Price: EUR 5,975 or approx. EUR 9,400 adjusted for inflation at the time of writing
Description: A Burmese, Shan style, gilt, black and red lacquered wood figure of Buddha Sakyamuni
Expert remark: Compare the closely related modeling, manner of carving, lacquering, and size (86 cm).
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