5th Dec, 2025 10:00
Fine Japanese Art
162
A SUPERB AND VERY RARE CARVED WOOD FIGURE OF FUGEN BOSATSU ON ELEPHANT, KAMAKURA PERIOD, THE DATING CONFIRMED BY A C14 TEST
€5,000
€10,000
A buyer’s premium of 30.00% (including VAT) applies to the hammer price of this lot if your bid is successful.
Japan, late 13th to early 14th century, Kamakura period (1185-1333)
Scientific Analysis Report: The result of a radiocarbon dating test conducted by RCD Lockinge, from a sample taken in April 2025 of the present figure, is consistent with the dating of this lot. A copy of the signed report, dated 3 June 2025, accompanies this lot.
Of yosegi (jointed) construction and exquisitely carved, the Bodhisattva depicted seated in kekka fuza (dhyanasana) atop a lotus dais, which rests upon a small octagonal stand positioned on the back of an elephant standing foursquare, delicately adorned with garlands draped over its textured hide and with its trunk gracefully curved above its gaping mouth. Fugen shown with hands joined in gassho (anjali mudra), clad in a loosely draped monastic robe that opens at the chest and falls in voluminous folds. His rounded face conveying a serene expression, characterized by heavy-lidded, downcast eyes beneath gently arched brows, centered by a prominent byakugo (urna), a slender nose, and full lips, all framed by long, pendulous earlobes, while the hair carefully arranged and secured beneath distinctive headgear.
HEIGHT 42.3 cm (total)
Provenance: From a private collection in Hungary.
Condition: Good overall condition consistent with age, showing natural wear, some old repairs, and surface touchups. Natural age cracks, chips, and obvious losses. The wood retains a rich, naturally developed patina.
Fugen Bosatsu (in Sanskrit, Samantabhadra) is the Bodhisattva of Universal Virtue, one of the principal figures in the Mahayana Buddhist pantheon. Within Mahayana doctrine, Fugen is traditionally paired with Monju Bosatsu (Manjushri), the Bodhisattva of Wisdom, both of whom act as attendants to Shaka Nyorai (Buddha Shakyamuni). Their triadic configuration is first articulated in the Avatamsaka Sutra, translated into Chinese during the fifth century and subsequently disseminated throughout other regions of East Asia. In this paradigm, Monju, positioned at the left of the Buddha, personifies wisdom, while Fugen, on the right, embodies practice and meditative discipline.
Fugen is most frequently depicted astride a white six-tusked elephant, an iconographic motif derived directly from the extensive influence of the Lotus Sutra within the Japanese Buddhist tradition. He is conventionally shown with his hands clasped together in prayer, as in the present example, although alternative representations portray him holding a lotus blossom, signifying his intimate association with and patronage of this seminal scripture.
The cult of Fugen appears to have been transmitted to Japan between the eighth and ninth centuries and attained particular prominence within the Buddhist pantheon during the latter half of the Heian period. As in the case of Kannon Bosatsu (Avalokiteshvara), representations of Fugen underwent a progressive transformation in terms of gender. Early images emphasize a markedly masculine physiognomy, whereas from the Muromachi period onward, depictions adopt increasingly feminized characteristics. The present figure retains predominantly masculine features, yet the delicately articulated modeling and androgynous facial expression suggest production in the transitional phase between the late Kamakura and early Muromachi periods.
Museum comparison:
Compare a related much larger gilt-lacquered wood figure of Fugen Bosatsu on elephant, Kamakura period, 14th century, 251.2 cm high, in the Virginia Museum of Fine Arts. Compare a related gilt-lacquered wood figure of Fugen Bosatsu on elephant, in the Musée Guimet.
Japan, late 13th to early 14th century, Kamakura period (1185-1333)
Scientific Analysis Report: The result of a radiocarbon dating test conducted by RCD Lockinge, from a sample taken in April 2025 of the present figure, is consistent with the dating of this lot. A copy of the signed report, dated 3 June 2025, accompanies this lot.
Of yosegi (jointed) construction and exquisitely carved, the Bodhisattva depicted seated in kekka fuza (dhyanasana) atop a lotus dais, which rests upon a small octagonal stand positioned on the back of an elephant standing foursquare, delicately adorned with garlands draped over its textured hide and with its trunk gracefully curved above its gaping mouth. Fugen shown with hands joined in gassho (anjali mudra), clad in a loosely draped monastic robe that opens at the chest and falls in voluminous folds. His rounded face conveying a serene expression, characterized by heavy-lidded, downcast eyes beneath gently arched brows, centered by a prominent byakugo (urna), a slender nose, and full lips, all framed by long, pendulous earlobes, while the hair carefully arranged and secured beneath distinctive headgear.
HEIGHT 42.3 cm (total)
Provenance: From a private collection in Hungary.
Condition: Good overall condition consistent with age, showing natural wear, some old repairs, and surface touchups. Natural age cracks, chips, and obvious losses. The wood retains a rich, naturally developed patina.
Fugen Bosatsu (in Sanskrit, Samantabhadra) is the Bodhisattva of Universal Virtue, one of the principal figures in the Mahayana Buddhist pantheon. Within Mahayana doctrine, Fugen is traditionally paired with Monju Bosatsu (Manjushri), the Bodhisattva of Wisdom, both of whom act as attendants to Shaka Nyorai (Buddha Shakyamuni). Their triadic configuration is first articulated in the Avatamsaka Sutra, translated into Chinese during the fifth century and subsequently disseminated throughout other regions of East Asia. In this paradigm, Monju, positioned at the left of the Buddha, personifies wisdom, while Fugen, on the right, embodies practice and meditative discipline.
Fugen is most frequently depicted astride a white six-tusked elephant, an iconographic motif derived directly from the extensive influence of the Lotus Sutra within the Japanese Buddhist tradition. He is conventionally shown with his hands clasped together in prayer, as in the present example, although alternative representations portray him holding a lotus blossom, signifying his intimate association with and patronage of this seminal scripture.
The cult of Fugen appears to have been transmitted to Japan between the eighth and ninth centuries and attained particular prominence within the Buddhist pantheon during the latter half of the Heian period. As in the case of Kannon Bosatsu (Avalokiteshvara), representations of Fugen underwent a progressive transformation in terms of gender. Early images emphasize a markedly masculine physiognomy, whereas from the Muromachi period onward, depictions adopt increasingly feminized characteristics. The present figure retains predominantly masculine features, yet the delicately articulated modeling and androgynous facial expression suggest production in the transitional phase between the late Kamakura and early Muromachi periods.
Museum comparison:
Compare a related much larger gilt-lacquered wood figure of Fugen Bosatsu on elephant, Kamakura period, 14th century, 251.2 cm high, in the Virginia Museum of Fine Arts. Compare a related gilt-lacquered wood figure of Fugen Bosatsu on elephant, in the Musée Guimet.
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Auction: Fine Japanese Art, 5th Dec, 2025
We're delighted to present Fine Japanese Art — a live auction featuring 600 exceptional lots that span every era of Japan’s rich artistic heritage.
The first 360 lots are featured in our printed catalog, beginning with Bronzes & Meiji metalwork, including a superb selection of silver works and notable pieces by celebrated masters such as Kitagawa Hokusen I and Jomi Eisuke II. These are followed by an outstanding group of samurai artworks, showcasing works by the Myochin family, intricate jizai okimono, exquisite tsuba from the Kotler Collection, and a distinguished array of armors, helmets, and swords. Learn more.
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