of Tibetan style, the square throne divided into two waisted sections, each side of the lower carved in low relief with triratna flanked by pair of ferocious Buddhist lions above a short lotus base, the upper an elongated main section engraved continuously with Heart Sutra, the end signed 'Qianlong' and dated to the year of Geng Zi (1780), all sides with natural pierced openness reveals the hollowed centre and accentuates the beautifully textured and characteristic surface, the dome-shaped stupa decorated with raised beads inlaid with turquoise and coral, raised to a harmika and slender five-wheeled spire and parasol, topped with a sun-moon finial, and spherical pinnacle (Dimensions: 59.5cm high) (Qty: 1) (59.5cm high) Qty: (1) Footnote: Note: Stupa, in Tibetan 'chörten', means offering receptacle. Originally as a memorial monument, its principal function is a reliquary container once used for the corporeal remains of Sakyamuni and other significant Buddhist figures. It is a manifestation of the aniconic Dharma body of the Buddha and his divine presence, represents the past and the present, the body and the mind. Hence, a PÄli text claims: 'The stupa is the Buddha, the Buddha is the stupa'. [1] The unique architectural form of the example presented here is quintessentially influenced by Tibetan characteristics. The square Mount Meru base and the tapered steps are Tibetan in style, the rounded dome is Indian in origin. Above is the cubic harmika, consisting of a five-layered conical spire mast, represents the five elements- earth, water, fire, wind, and void. However, this example is also significantly infused with classical Chinese elite aesthetics. The large proportion of the naturally pierced upper section of the throne celebrates the dynamic transformational processes of nature, which manifests in the appreciation of Chinese scholar's rocks and is also close to the Japanese aesthetic of wabi-sabi. It breaks free from the rigid traditional sixty-four-unit proportion. [2] Furthermore, the rugged texture of the hollowed centre resembles mountains and caves, particularly the magical peaks and grotto-heavens, which invokes a sense of divinity and tranquillity of the onlookers. Commonly cast in bronze and gilded, this example is uniquely carved from hardwood. Its generous proportions also entail an extraordinary commission. A related example, carved in zitan, was sold at Christie's Paris, Live Auction 5598 on 8 June 2010, lot 307. [1] Michael Henss, Buddhist Ritual Art of Tibet, Stuttgart: Arnoldsche, 2020, p. 71; Also see the illustration depicting the theoretical relationship between the iconographical grid (Tib. thig tshad) of the seated Buddha and the stupa of enlightenment, in Robert Beer, The Encyclopedia of Tibetan Symbols and Motifs, Boston: Shambhala, 1999, pp. 130-133 [2] Robert Beer, The Encyclopedia of Tibetan Symbols and Motifs, Boston: Shambhala, 1999, p. 130