**First Time At Auction**
Sotheast Asia, Thailand, Ayutthaya Period, ca. 16th to 17th Century CE. A slender and graceful cast-brass statue of the Buddha in the Ayutthaya style, standing upright with one arm at his side, the other although missing was held out before him, perhaps his hand forming a mudra gesture of peace, and a flaming ushnisha upon his head to denote enlightenment. Standing images from this period are often in the Abhaya Mudra, the gesture of "dispelling fear." The Ayutthaya Kingdom lasted from 1351 to 1767 and during the 16th century was regarded as one of the largest and wealthiest trading centers in the East. Buddha images of the Ayutthaya period display the influence of Lopburi, U Thong and Sukhothai styles, almost certainly because of the kingdom's extensive trading contacts with those places. The feet are set on a low circular pedestal that is not original to the piece is likely dates to the early 20th century. Size: 9.3" Diameter x 8" W x 31" H (23.6 cm x 20.3 cm x 78.7 cm)
Buddhist hand symbols are often presented in specific styles to represent different aspects of Buddha and Buddhist values. The missing right hand would have shown the palm facing outward and the fingers extended upwards. This gesture is also called "Gesture of Fearlessness" or "blessing" or "fearless mudra" which is almost a universal human gesture when approaching strangers or reassuring animals to denote good intentions. Buddha famously used this gesture to stop a drunken elephant that was sent to kill him. As the elephant charged, Buddha raised his hand and his kindness radiated outward stopping the enraged beast and immediately taming the elephant where it stood! This fearlessness became a pillar of Buddhist teaching, and ceasing of fear is acheieved through the abandonment of desires. This piece may have been placed in a shrine or near an entrance, and been a welcome sight to those that were even unfamiliar with the full meaning.
Provenance: private Cadwell, Idaho, USA collection
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#177602
Condition
Missing arm as shown. Surface wear and pitting commensurate with age and use. Attached to a vintage brass and copper base that is not original to the statue.