Date: mid 20th century
Geography: Burma
Dimensions: 26cm H 16cm W x 7cm D
Weight: 891g
Material: wood
Condition: very good for its age see photos
This hand-carved Burmese Buddhist monk figure dates from around the mid-20th century and is believed to have been carved from teak wood, although the exact timber cannot be confirmed. The sculpture is thought to originate from Mandalay, the former royal capital of northern Myanmar, a city long known for its skilled woodcarvers and Buddhist artistic traditions.
The monk is shown seated in the half lotus position, also known as Ardha Padmasana. This posture is widely used in Buddhist meditation and practiced in a stable and comfortable seated position that supports concentration and mindfulness. Unlike the full lotus position, the half lotus is more accessible while still providing balance and support for extended periods of meditation.
The figure displays a calm and serene expression with closed eyes, suggesting a state of deep contemplation, meditation, or inner awareness. The peaceful facial features reflect qualities often associated with Buddhist teachings, including mindfulness, wisdom, and self-discipline. The closed eyes draw attention away from the external world and towards inner reflection.
The monk is dressed in full traditional robes that drape naturally across the body. The carving captures the folds and flow of the garment in a simple but effective manner, demonstrating the skill of the artisan. The robes cover the seated figure while allowing the overall posture and form to remain clearly visible.
One of the most distinctive aspects of this sculpture is the positioning of the hands in the Vitarka Mudra, a gesture associated with teaching, discussion, and the transmission of Buddhist doctrine. This mudra is commonly seen in representations of enlightened teachers and signifies the sharing of knowledge and understanding. The gesture reinforces the figure's connection to Buddhist learning and spiritual instruction.
The carving also features several unusual artistic characteristics. The monk has notably long and slender fingers, giving the hands an elegant and expressive appearance. The feet are similarly elongated and slender, creating a distinctive visual balance that differs from many traditional Burmese monk carvings. These proportions may reflect the individual style of the craftsman or a regional artistic interpretation.
The warm appearance of the wood, combined with the hand-carved detail and signs of age, gives the piece an authentic character. As a decorative object, it offers both artistic and cultural interest, reflecting Myanmar's long-standing Buddhist heritage and woodworking traditions.
This sculpture would make an attractive addition to a collection of Asian art, Buddhist artefacts, or traditional wood carvings. It stands as a representation of meditation, teaching, and spiritual practice, while also showcasing the craftsmanship associated with Burmese religious sculpture during the mid-20th
Date: mid 20th century
Geography: Burma
Dimensions: 26cm H 16cm W x 7cm D
Weight: 891g
Material: wood
Condition: very good for its age see photos
This hand-carved Burmese Buddhist monk figure dates from around the mid-20th century and is believed to have been carved from teak wood, although the exact timber cannot be confirmed. The sculpture is thought to originate from Mandalay, the former royal capital of northern Myanmar, a city long known for its skilled woodcarvers and Buddhist artistic traditions.
The monk is shown seated in the half lotus position, also known as Ardha Padmasana. This posture is widely used in Buddhist meditation and practiced in a stable and comfortable seated position that supports concentration and mindfulness. Unlike the full lotus position, the half lotus is more accessible while still providing balance and support for extended periods of meditation.
The figure displays a calm and serene expression with closed eyes, suggesting a state of deep contemplation, meditation, or inner awareness. The peaceful facial features reflect qualities often associated with Buddhist teachings, including mindfulness, wisdom, and self-discipline. The closed eyes draw attention away from the external world and towards inner reflection.
The monk is dressed in full traditional robes that drape naturally across the body. The carving captures the folds and flow of the garment in a simple but effective manner, demonstrating the skill of the artisan. The robes cover the seated figure while allowing the overall posture and form to remain clearly visible.
One of the most distinctive aspects of this sculpture is the positioning of the hands in the Vitarka Mudra, a gesture associated with teaching, discussion, and the transmission of Buddhist doctrine. This mudra is commonly seen in representations of enlightened teachers and signifies the sharing of knowledge and understanding. The gesture reinforces the figure's connection to Buddhist learning and spiritual instruction.
The carving also features several unusual artistic characteristics. The monk has notably long and slender fingers, giving the hands an elegant and expressive appearance. The feet are similarly elongated and slender, creating a distinctive visual balance that differs from many traditional Burmese monk carvings. These proportions may reflect the individual style of the craftsman or a regional artistic interpretation.
The warm appearance of the wood, combined with the hand-carved detail and signs of age, gives the piece an authentic character. As a decorative object, it offers both artistic and cultural interest, reflecting Myanmar's long-standing Buddhist heritage and woodworking traditions.
This sculpture would make an attractive addition to a collection of Asian art, Buddhist artefacts, or traditional wood carvings. It stands as a representation of meditation, teaching, and spiritual practice, while also showcasing the craftsmanship associated with Burmese religious sculpture during the mid-20th
