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Scientific Analysis Report: A certificate issued by Re. S. Artes on 30 July 2026, no. R 146195A-23, based on the analysis of a sample taken from the base, which was observed with a scanning electron microscope (SEM), states an alloy composition of Cu : 93,7 ± 2,8 ; Sn : 6,3 ± 0,3 and finds that the bronze exhibits a weathering process developed deeply inside the alloy, showing distinct copper and tin salts, as well as a gilding layer applied with mercury technique and a red pigment (mercury sulfide) at the surface of the weathering layers, all of which is consistent with the dating above. The contents of the alloy do not include any modern elements, further confirming the dating above. A copy of the report accompanies the lot.
China. Finely cast seated in dhyanasana above a throne of crisp lotus petals that continue almost seamlessly in the round, the right hand raised in abhaya mudra and the left lowered in dhyana mudra. He wears a flowing dhoti, gathered in soft folds around the knees, and a sash draped over the shoulders leaving the chest bare, adorned with beaded pendant jewelry.
The face is sensitively modeled with a composed expression, defined by heavy-lidded downcast eyes and gently pursed lips forming a subtle smile. The hair is arranged in braided strands drawn back into a chignon, with loose tresses falling over the shoulders, and surmounted by a five-leaf tiara.
The base is sealed with a copper plate, finely incised with a double vajra.
Provenance: From a Tibetan private collection in Denver, Colorado, USA, acquired from a Himalayan art dealer within the past five years.
Condition: Overall good condition with extensive wear and casting irregularities, small areas of surface corrosion, rubbing and losses to gilt, remnants of old pigments, small surface scratches, light warping.
Weight: 1,092.1 g
Dimensions: Height 16.6 cm
This image is representative of a group of Buddhist figures made in China during the first half of the fifteenth century that displays a style influenced by the art of Tibet. In the preceding century under the Yuan Dynasty, the authority of Mongol rulers had become closely associated with Tibetan Buddhist or Lamaist rituals. The tradition of Lamaist art continued into the Ming period and prevailed in works of art such as the present example. Missions to Tibet were sent during the early part of the Ming dynasty and sought to maintain good relations with the Tibetan lamas, and images such as the present lot appear to have been made as gifts that were exchanged on such visits.
The best of Imperial bronzes from the Yongle period are regarded for their refinement, exquisite mercury gilding, and precision to detail. Incorporating elements from India, Tibet, and Nepal, this syncretic style was introduced by Newari artists employed in the Yuan court between the late 13th and 14th centuries. In its round yet well-proportioned face and plump upper torso, this gilt bronze ranks close among its type. Its Newari aesthetic is unmistakable in the voluptuous lotus petals, lavish jewelry, attenuated physiognomy, and sense of naturalism in the treatment of the drapery.
The Yongle Emperor was likely introduced to Tibetan Buddhism and became interested in it around 1380, when he was enfeoffed in Beijing, and of course he had strong ties to the Mongol military elite, who were also adherents of Lamaist Buddhism, so it appears that he continued to practice this form of Buddhism for the rest of his life. Certainly, more works of art depicting Lamaist Buddhist deities and imagery were produced during his reign period than under any other Chinese Emperor, with the exception of Qianlong. Based on the extant number of bronzes depicting the Lord of Wisdom in various forms, the Yongle Emperor likely viewed himself to be the living incarnation of Manjushri in the aspect of an almighty ruler and spiritual successor to the Yuan. For further discussion of this topic see J. C. Y. Watt and D. P. Leidy, Defining Yongle: Imperial Art in Early Fifteenth-Century China, Yale University Press, 2005.
Visual representations of the celestial Five Presiding Buddhas are commonly distinguished from Shakyamuni by wearing crowns and jewelry. Identified by the right hand in the gesture of reassurance (abhaya mudra), this fine gilded sculpture represents Amoghasiddhi, the Buddha of the North. His name translates to Almighty Conqueror, and he is revered for instructing devotees away from jealousy.
Literature comparison:
Compare a closely related gilt copper alloy figure of Amoghasiddhi, dated to the Yongle period, 18 cm high, in the Art Institute of Chicago, reference number 1925.380, and published in Ulrich von Schroeder, Indo-Tibetan Bronzes, 1981, p. 517, no. 144C. Compare a closely related gilt-bronze figure of Amoghasiddhi, dated Yongle period, 20.8 cm high, published in Ulrich von Schroeder, Buddhist Sculptures in Tibet, Vol. 2, Tibet and China, 2001, p. 1255, no. 345E-F.
Auction result comparison:
Type: Closely related
Auction: Christie’s London, 6 November 2007, lot 115
Price: GBP 120,500 or approx. EUR 239,000 converted and adjusted for inflation at the time of writing
Description: A finely cast gilt-bronze figure of a seated Amithaba, Yongle
Expert remark: Compare the closely related modeling, manner of casting, and gilding (albeit better preserved than on the present lot), with similar base, drapery, jewelry and crown, hair, and expression. Note the size (19.2 cm).
Auction result comparison:
Type: Closely related
Auction: Sotheby’s Hong Kong, 7 May 2025, lot 3613
Mid-Estimate: HKD 900,000 or approx. EUR 105,000 converted and adjusted for inflation at the time of writing
Description: A very rare gilt-bronze figure of Vajradhara, Ming dynasty, 15th century
Expert remark: Compare the closely related modeling, manner of casting, and gilding, with similar drapery, jewelry and crown, hair, and expression. Note the size (14.4 cm) and slightly different base.
Auction result comparison:
Type: Closely related
Auction: Bonhams Hong Kong, 5 October 2020, lot 111
Price: HKD 475,625 or approx. EUR 58,500 converted and adjusted for inflation at the time of writing
Description: A brass figure of Amoghasiddhi, Tibet, 15th century
Expert remark: Compare the closely related modeling and manner of casting with similar torso, jewels, and base. Note the size (19.5 cm) and Tibetan inscription. While perhaps not Chinese in origin, this figure perfectly demonstrates the great influence of Tibetan sculpture on the Ming court during the 15th century.
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