1: Tibet, Nepal: A ‘chorten’ with a square base consisting of several steps, from which a round ‘stupa’ rises. Its ‘window’ contains a small ‘medicine Buddha’. It is surmounted by a tall cone with twelve rings, and terminated by a ‘canopy' with decorative bands to the left and right. The tip is formed by a ‘jewel’ with lunar and solar symbols. The four corners of the upper, rectangular base plate were originally set with four small, blue lapis lazuli stones, polished round (one is missing). An additional pearl of lapis lazuli can be found on top, at the centre of the ‘jewel'. The cavity at the bottom of the ‘chorten’ is sealed with copper sheet. The sheet metal centrally displays an embossed double-dorje (a ‘diamond sceptre’, a ritual implement). The Lamaist Budhhist tradition of the Himalayan region (Tibet, Nepal, Bhutan, etc.) derived this form of ‘chorten’ from the Indian ‘stupa’. An Indian ‘stupa’ was originally a round, tall burial mound for a ‘holy man’ (Buddha, his disciples, eminent monks, ascetics, et al.), that was worshipped as a place of pilgrimage. Over time, the shape was miniaturised into such ‘reliquaries’, small objects that could be placed on an altar. The structure of a ‘chorten’ can be ‘read’ as a general symbol of the entire cosmos: the square foundation symbolises the ‘earth’. The round section that follows is ‘water’. The ringed cone signifies ‘fire’, the canopy above ‘air’ and the ‘jewel’ on top is interpreted as ‘ether’ or ‘space’. This very old ‘chorten’ was executed in a single piece with ‘waste mould’ casting. Only the lower embossed lid is made of copper, but was evidently inserted a long time ago. The corners and edges of the object are worn, rounded and ‘soft' as a result of protracted use. The ‘canopy', the decorative bands with their floral reliefs, as well as the ‘jewel' on top have been previously painted with gold. The entire piece displays an excellent, old, partially black encrusted patina. Apart from the one lost lapis lazuli no particular age-related damage.
17th/18th century or earlier. H: 19 cm.
2: India: A so-called ‘Virabhadra plate’ with three figures shown in relief, from a family altar to the Hindu god Shiva, also known as the ‘destroyer’. Cast from brass using the ‘waste mould’ technique. The significance of such ‘Virabhadra relief plates’ stems from the following legend: One day, Daksha, the father-in-law of the god Shiva, arranged for a great festival of sacrifice for all gods. But Sati, the god Shiva’s first wife (the figure on the bottom right of the plate), was not invited by her father Daksha to this great feast. Sati, being his daughter, is so offended by his disdain that she appears for the feast anyway. But out of shame and grief, she throws herself into the large blazing sacrificial bonfire there and burns to death. When the god Shiva hears of the death of his wife, he becomes so enraged he creates a furious new incarnation out of himself: Virabharda, the large, four armed warrior. On this plate he is the large central figure brandishing a sword, shield, bow and arrow. The fierce warrior Virabhadra then chops off the head of Daksha, father-in-law to Shiva, without further ado. This is done in the name of the god Shiva. When the other gods hear of this, they soothe the god Shiva’s anger. Shiva calms himself down again and replaces the head of his father-in-law Daksha with the head of a ram (the figure on the bottom left of this plate). This mythological scene is frequently depicted on such ‘Virabhadra plates’ and mounted on family altars in the Hindu popular belief of India. This serves both as a warning to follow the commandments and rules of the god Shiva, and not to offend or anger the god and his incarnations. Such customs are particularly common in the southern states of Maharashtra, Karnataka, Tamil Nadu et al. This ‘Virabhadra plate’ shows the usual three protagonist of the myth (Virabhadra, Sati and Daksha) in relief and framed in a single piece. They are surmounted by the head of a ‘Naga’ (king cobra), which traditionally protects the god Shiva and his incarnations. An altar object made in a folksy, 'naive' style, with two small holes for mounting and a visibly older patina on the front and back. Only minor casting flaws on the lower edge.
19th century; H: 20 cm, W: c. 10.5 cm (ME)