15th century, Tibet, Amitayus, gilt copper alloy with stone inlay and pigments, private collection, photo by Sotheby’s.
This masterpiece depicts Amitayus holding his long-life vase, bedecked with turquoise-inlaid accessories including foliate armbands and matching bracelets, three necklaces, large floral earrings with pendants, a five-leaf crown with flowing ribbons and rosettes, anklets and a belt. But for a few loose strands over his shoulders, his plaited hair is piled into a tall chignon topped with a lotus and jewel finial. His lower garment, loosely gathered over his legs, is decorated with an incised floral pattern.
Same as before, photo by Christie’s.
On this equally remarkable work, the dhyani buddha wears a V-shaped garment over his shoulders and breast, and an elaborate beaded belt or apron.
The face of a mythical creature, presumably Kirtimukha, can be seen at the the bottom of the central panel of his crown.
The rim of the lotus pedestal and the hem of his garments are decorated with an incised floral pattern.
16th century, same as before.
On this later version, Amitayus wears a scarf over his shoulders and round his arms.
Same as before.
Another image with three necklaces, large foliate armbands and matching bracelets, an elaborate belt/apron with stone-inlaid pendants that rest over the dhoti. His scarf forms a loop at elbow level. This feature, of Chinese origin, can be seen on 16th century works and seems to have gained popularity during the 17th century.
Kirtimukha, with vegetation coming out of its mouth, is clearly recognizable at the front of his crown.
16th century, Tibet, gilt copper and stone inlay, same as before.
A Nepalese-style work, with a shortish dhoti that shows shin ornaments (but no anklets) and jewellery inlaid with a variety of medium-size stones.
16th century, Tibet, Amitayus, gilt copper alloy, private collection, photo by Christie’s.
Here, on the contrary, Amitayus wears a long dhoti loosely draped in the Chinese fashion, decorated with a floral motif and an incised hem.