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- Statuary
Tibetan religious statuary shares the same striking features and dramatic energy as is found in their colourful paintings. The themes of the statuary are of a symbolic non-secular nature and have derived their inspiration from Buddhist doctrinal lore and Tantric mythology. Tibetan artists have used various materials to make their statues: from using clay moulds, or moulding a mixture of butter and tsampa, to carving wood, ivory, horn, animal and human bone, or occasionally stone. However, it is in the production of cast metal statues that the craftsmen have excelled. They have produced magnificent metal statues, some of enormous size which can still be found in surviving temples, such as the Potala and the Jokhang temple in Lhasa. Most of the metal statues, which have found their way to the West, are quite small in size. These small statues were often produced to acquire merit or were commis�sioned for certain ceremonies. Judging by the large number of small metal statues outside of Tibet, they must have been produced in prolific quantities.
The style of Tibetan sculpture owes a great deal to Indian influence and Nepalese versions of Indian images, with some peripheral influences from China. It is often difficult to distinguish between Tibetan and Nepalese statues, and this is partly due to the fact that Nepalese artisans worked for Tibetan temples. In general, Nepalese statues tend to have a more tranquil appearance, while Tibetan examples are slightly less refined and there is a tendency to portray more of the terrifying deities.
The statues of terrifying deities and protectors are usually depicted standing alone or in yab-yum position; while the buddhas, religious hierarchs, mystics or gurus, and mahasiddhas are usually portrayed seated on a lotus base. Tibetan religious statuary, whether peaceful or terrifying, ranks amongst the most imaginative and interesting in the world.
Tibetan metal statues are usually said to be made of bronze or brass, but technically they are made of a copper alloy with certain percentages of zinc, gold, and tin. However, for convenience�s sake, we will use the term brass. Most statues were cast by using permanent moulds or by the lost wax process (cire perdue). Occasionally they are made from copper sheeting hammered in repousse and then soldered or riveted together. Some very detailed images with multiple arms, heads and attributes were obviously very difficult to produce, attesting to the high tech�nical maturity of the Tibetan metalworkers.
The metal statues are usually gilded and sometimes inlaid with turquoise, lapis lazuli, coral, pearls, semi-precious stones, coloured glass or paste. Another form of embellishment found on statues is metal inlay or the use of added applique of metals of contrasting colour. As well, the images are quite often painted in their associated colours. The statues are usually repainted or regilded at regular intervals, as it was a sacred obligation to assure that the power of the deity was maintained, and it was also considered a meritorious act. The statues were usually left hollow, so that relics and charms could be placed inside to give them their mystic potency. After being sealed with a thin plate, usually embossed or incised with the double-thunderbolt symbol, the image would be consecrated.
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