Indra King of Gods, Nepal

Elegant copper alloy sculpture representing Indra seated in lalitasana (royal ease), king of the gods (Hinduism), Indo-European god of war and storm. In Buddhism, Indra (Śakra) is no longer a supreme god as in Hinduism, but he remains an important figure, protector of the Dharma, a celestial sovereign among others and a servant of the Buddha.
Coming from the Newar artisanal tradition of Nepal in the 19th century and made using the lost wax technique, this piece illustrates the mastery of Nepalese workshops, with refined details such as the finely chiseled armbands, the flowing drapery and the majestic attitude of the divinity.
There are cavities intended for inlays of precious stones, typical of works intended for temples or private orders.
The natural and homogeneous patina of the metal testifies to its beautiful antiquity and remarkable know-how. This piece is an opportunity for collectors and lovers of Himalayan art, combining traditional execution and prestigious provenance.
Provenance: Estate of the collector and Asian art dealer Claude de Marteau
Sold with certificate of provenance
H max 34 CM X D max 16 CM X L max 26 CM.
H without base 30 CM
Base (Modern) H 4 CM X L 20.5 CM X D 16 CM.
The role of Indra in Buddhism:
A celestial king, but more supreme.

Indra reigns over the kingdom of the Thirty-three gods (Trāyastriṃśa), located at the summit of Mount Meru. He is no longer the absolute god, but a powerful deva, subject to the law of karma and the cycle of rebirths.

A protector of the Buddha
Indra is often depicted assisting Śākyamuni at key moments, he is said to have tested Gautama before his awakening by appearing in the form of an old man.

During the miracle of Śrāvastī, he is present alongside Brahmā to venerate the Buddha.

In some stories, it is he who offers the alms bowl to the Buddha after his awakening.

A protector of the Dharma and monks

He is venerated in monasteries, particularly in East Asia, under his name of Taishakuten. He is sometimes depicted in armor, brandishing his vajra, no longer as a weapon of war, but as a symbol of spiritual protection.

A being still subject to samsara
Unlike bodhisattvas or buddhas, Indra remains in the cycle of rebirth. Unlike them, he remains a being conditioned by karma.

Although he is a heavenly king, he is also described as being subject to pride and fear of losing his throne, which shows that his spiritual awakening is incomplete.
In some versions, he listens to the Buddha’s teachings to free himself from samsara.
In Buddhist statuary, he can be represented in a position of worship, often kneeling before the Buddha, or in his form as a heavenly king, holding his vajra.
About this piece:
An interesting technical detail appears at the level of the left arm, where two small holes are visible. They could correspond to the attachment of a metal lotus, an accessory often added after casting, or to evacuation chimneys used during the casting of bronze. The version of the vents is more likely because many very close variants represent Indra without a lotus. In addition, two very similar holes are located under his left leg, an area always devoid of iconographic attributes. In lost wax casting, these holes are strategically placed to allow the molten metal to flow properly into the mold and prevent air bubbles or casting defects. Their presence in structurally important areas (such as the back of the arm and under the leg) reinforces this idea: these are points where the solidification of the metal could have been problematic.
See this Nepalese Indra in full screen mode on Vintage Addict

Ref: 34WS1FUOBG