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Metallurgical Scientific Analysis:
SEM-EDS analysis of the core metal identified a copper alloy comprising 66.0% Cu, 23.1% Zn, 5.7% Sn, and 3.2% Pb, with minor Ni, Si, and Fe. The resulting Cu-Zn-Sn-Pb alloy is fully consistent with established Ming and Qing metallurgical practice. Large-scale archaeometallurgical studies by A.M. Pollard and Ruiliang Liu demonstrate that zinc-rich brass became firmly established in China during the Jiajing period (1521–1567), with zinc contents commonly reaching 20–40%. The present value of 23.1% Zn falls squarely within this documented range, while the present additions of tin and lead are characteristic of historical casting alloys of the 17th and 18th centuries. Comparable multi-component copper alloys are further documented in Chandra L. Reedy’s extensive study of Himalayan Buddhist sculpture.
Literature: Chandra L. Reedy, Himalayan Bronzes: Technology, Style, and Choices, 1997; A.M. Pollard & Ruiliang Liu, “Chemical Studies of Ming and Qing (1368–1911 CE) Coinage and the Later History of Brass in China,” Journal of Archaeological Science 142, 2022, 105597.
Expert's note:
The classification of individual sculptures within the broader corpus of monumental Nepalese, Tibetan and Sino-Tibetan gilt-bronze temple images has long been the subject of scholarly discussion. Broadly speaking, two principal groups can be distinguished. The first comprises the Nepalese tradition of the 16th century, of which we are showing two examples here, lot 102G published by Schroeder, and lot 171 from a 1994 Christie's sale. The second consists of the Sino-Tibetan corpus of the 17th and 18th centuries, exemplified by two monumental examples shown here, which currently reside in the Guimet, Paris, and the Jacques Marchais Museum of Tibetan Art, and a third example from the Alice S. Kandell Collection.
Regardless of where one places the present figure within this well-documented sequence, one fact remains striking: no securely documented monumental bronze temple figures of this type are known to have been produced after the end of the 18th century.
Finely and massively cast in several sections, the deity seated in dhyanasana atop a double-lotus base with beaded rims, the hands lowered in dhyana mudra cradling a kalasha containing the elixir of immortality in his lap.
The Buddha of Measureless Longevity is identified here by his princely sambhogakaya raiment including turquoise- and coral-inlaid beaded foliate jewelry and a meticulously worked flowing dhoti incised with scrolling vines. A similarly decorated billowing celestial scarf is draped around the shoulders and arms, its ends cascading gracefully to the base.
His serene facial features, highlighted with cold gold, convey an expression of profound tranquility, marked by heavy-lidded sinuous eyes under arched brows centered by a teardrop-form urna, a slender nose, and pursed lips forming a gently smile, flanked by large circular foliate earrings, and topped with an elaborate five-leaf tiara, the hair cascading in symmetrical curls past the shoulders.
Provenance: From a private collection in Switzerland.
Condition: Good condition with expected wear and casting irregularities. Small nicks, light warping and few small dents, minor surface scratches, expected losses to inlays, with some possibly replaced. The back of the crown with a minor repair to the edge. The base unsealed. The bronze with a fine, naturally grown, dark patina.
Weight: 30 kg
Dimensions: Height 75.5 cm
The present lot draws inspiration from the highly celebrated works of the 16th century created by Newar artists of Nepal’s Kathmandu Valley. Amitayus is lavishly adorned with baroque regalia, most notably an elaborate five-leaf crown set with large turquoise cabochons that surmounts his high ushnisha and is further crowned by a jeweled finial. For a close Nepalese parallel exhibiting similarly profuse crown and necklace types, see the 16th-century figure of Sitatara published in von Schroeder, Indo-Tibetan Bronzes, 1981, p. 381, no. 102G. This artistic lineage is further supported by a Nepalese gilt-bronze figure of Four-Armed Avalokiteshvara formerly in the Kemper Collection and sold at Christie's, Amsterdam, 11 October 1994, lot 171. The opulent gem-inlaid crown and the intricately rendered scarf on that example find close parallels in the present sculpture.
Amitayus, a form of the Buddha Amitabha in Mahayana and Vajrayana Buddhism, is associated with longevity, wisdom, and immortality. He is typically depicted wearing an ornate crown and holding a vase of Amrita, the nectar of immortality. In Tibetan and Nepalese Buddhist art, Amitayus plays a central role in longevity rituals, revered for overcoming karmic obstacles. His image is widely represented in sculptures and temple decorations, symbolizing enlightenment and the aspiration for a long, spiritually fulfilled life.
Literature comparison:
Compare a closely related smaller Tibetan bronze figure of Amitayus, with similar cold gilt and painted face, tall crown, and richly incised necklace, 56 cm high, also dated 17th-18th century, in the Jacques Marchais Museum of Tibetan Art, accession number 85.04.0170, illustrated by Barbara Lipton & Nima Dorjee Ragnubs, Treasures of Tibetan Art, New York, 1996, p. 127, no. 60, and on Himalayan Art Resources, item number 75056. Compare a closely related Tibetan gilt copper figure of White Tara, 78.5 cm high, dated to the 17th century, in the Musée Guimet, accession number MA 12495. Compare a closely related smaller gilt copper alloy figure of Tara wearing a similar crown, with cast parts and repoussé, dated to the second half of the 17th century, 48.3 cm high, illustrated by Marylin M. Rhie and Robert A. F. Thurman, A Shrine for Tibet. The Alice S. Kandell Collection, p. 142-143, no. III-3, where the authors note that the figure "likely comes from central Tibet, probably either Lhasa or, most likely, the region of Tashi Lhunpo monastery in Shigatse."
Auction result comparison:
Type: Closely related
Auction: Bonhams Hong Kong, 29 October 2025, lot 229
Mid-Estimate: HKD 1,850,000 or approx. EUR 215,000 converted and adjusted for inflation at the time of writing
Description: A magnificent and large parcel-gilt-bronze figure of White Tara, Mid-Qing dynasty or later
Expert remark: Compare the closely related modeling , decoration, and manner of casting with similar base, shallow incised work, inlays, tall crown, and cold-painted face. Note the smaller size (55 cm) and mid-Qing dynasty dating.
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