The Chakrasamvara cycle of teachings is one of the largest collections of Buddhist tantric literature from early medieval India. It was introduced to neighbouring regions such as Nepal, Tibet and Bhutan, where it has played a crucial role in shaping religious and cultural systems. The term “Chakrasamvara” itself is a complex Sanskrit compound with multiple meanings. “Samvara” suggests a gathering or collection, while “chakra” refers to a circle, symbolising the integration of body, speech and mind. Alternatively, “samvara” can be interpreted as a combination of “sam” (bliss) and “var” (supreme), rendering “Chakrasamvara” as the “circle of supreme bliss.” This nomenclature reflects the essence of the deity’s role in tantric Buddhism, embodying the ultimate union of bliss and emptiness.
Chakrasamvara can appear in several dozen different forms, ranging from simple to complex and from peaceful to wrathful. To differentiate between these forms, it is necessary to rely on descriptive literature in Sanskrit and Tibetan. Further adding to the complexity, there are over fifty distinct traditions of these forms within Tibetan Buddhism. Each tradition emphasises different types of meditation practices tailored to specific emotional and psychological characteristics of tantric practitioners.
The different traditions feature variations in appearance, lineage and teachers, as they stem from diverse Chakrasamvara tantras. Typically, the male deity has four faces, twelve arms and two legs, and is blue in colour. He is often depicted with his consort, Vajrayogini, who is generally red, though not always. The one-faced, two-armed form, as presented in this lot, belongs to the Heruka tradition.
The present gilt-bronze sculpture portrays the two principal deities of the Chakrasamvara cycle in an intimate embrace. The male deity, Chakrasamvara, is depicted with one face and two hands, adopting the archer’s posture, charged with dynamic tension and potential energy. He is closely embraced by his consort, Vajrayogini. The divine couple is shown trampling over the deities Bhairava and Kalaratri on a lotus base, symbolising the transcendence of obstacles and the subjugation of ignorance. Chakrasamvara’s hands, holding two vajras, are engaged in the vajrahumkara mudra, a gesture that signifies the union of wisdom and compassion.
Another gilt-bronze Chakrasamvara from 16th-century Nepal, also in the Heruka form, is housed at the British Museum, London (acc. no. 1921,0219.1). Together with the present lot, this piece can be compared to lot 506, sold at Christie’s New York on 20 March 2024 for $201,600.
The present lot hails from the collection of Alfred Byrd Graf (1901-2001), a renowned German botanist and world traveler, dedicated his life to horticulture and plant exploration. He discovered over 100 new plant species, including notable varieties of Dracaena, Sansevieria, and the first white African violet, meticulously documenting them in an illustrated book series. Throughout his career, he embarked on numerous expeditions across the continents, seeking new species from New Guinea to Mount Kilimanjaro -- “a wall in [his home] displayed a map of the world with a pin dot for every place he and his wife, had gone plant hunting. Few areas were left dotless” (W. Saxton, Alfred Graf, 100, Botanist and Author of Plant Books, New York Times, 2002.). Byrd is known to have savored the ornamental usage of plants in Asia and had a deep appreciation for accompanying local sculptural and craft traditions.
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