Item: Vishvamata - (solitary figure)

Vishvamata, Universal Mother.

This exquisite gilt-metal sculpture represents Vishvamata, a peaceful female meditational deity practiced primarily within the Sarma traditions of Tibetan Buddhism, including the Sakya, Kagyu and Gelug schools. Vishvamata is depicted in vajra posture, seated cross-legged on a moon disk atop a double-lotus base. The deity, white in color, is portrayed with one face and two arms. Both hands delicately hold the stem of a lotus flower that blooms at the ear, with the left hand extended toward the knee in a gesture of generosity and the right hand raised near the heart in a gesture of blessing.

Iconographically, Vishvamata is generally described as having two eyes, though some texts mention her with three. A primary source that details her iconography is the Rinjung Lhantab, an edited version of the Rinjung Gyatsa compiled by Jonang Taranatha (1575-1635). Vishvamata also appears as the consort of Kalachakra and is revered within the Kalachakra system as the personification of the wisdom of all Buddhas, a role akin to Prajnaparamita of the Prajnaparamita Sutras. Her practice is often attributed by practitioners as a method of overcoming illness and pacifying health-related obstacles.

While Vishvamata is more commonly depicted as a supporting figure in murals of the meditational deity Kalachakra or in scroll paintings, sculptural representations of her are exceptionally rare. The rarity of such depictions, combined with the common iconography of one face and two arms, and lotus flowers blossoming near the ears, complicates her identification. Similarities with other deities with the mentioned iconography such as White Tara, White Manjushri, and Khasarpani Lokeshvara are evident, but distinct differences exist. Unlike White Tara, this figure lacks the additional eyes on the hands and feet; the presence of breasts differentiates her from Manjushri and Lokeshvara. Another rare Tibetan 15th/16th century gilt-copper alloy figure of Vishvamata, inscribed with her name on the base, was sold at Christie's New York, 13th September 2011, lot 327. Despite the scarcity of her sculptural form, the iconography, alongside comparable examples such as Himalayan Art Resources no. 24180, confirms her identity as Vishvamata. The gilding and craftsmanship of these related sculptures suggest they originated from the same atelier, possibly the Sonam Gyaltsen workshop in Tsang province, 15th century. The distinctive gilding, unique lotus base, and intricate incising are characteristic of the Sonam Gyaltsen style. (Sotheby's, New York. September, 2024).

Shinzo Shiratori 8-2024