Page 96 - Sotheby's London Important Chinese Art Nov. 2019

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A LARGE GILT-LACQUERED BRONZE FIGURE Impressive for its large proportions and crisp casting, this
OF AVALOKITESHVARA figure appears to depict Avalokitesvara, the bodhisattva
MING DYNASTY, 15TH/16TH CENTURY of Compassion and Mercy, recognisable from the small
figure of Amithaba Buddha in his crown. Adorned with
cast seated in dhyanasana with the right hand lowered luxurious necklaces and earrings and a tall floral crown,
in varada mudra, while the left held in abhaya mudra, the bodhisattva is shown seated with his legs crossed,
dressed in loose robes elaborately decorated with floral his head and eyelids slightly lowered in a contemplative
borders, further embellished with beaded jewellery gaze, which captures his inner tranquillity and spiritual
around the chest, the face with serene expression and peace. The figure was covered overall in a thick layer of gilt
downcast eyes, the hair gathered into a high chignon lacquer, which is still visible in places, providing a glimpse
save for two long plaits falling off the shoulders, framed of its original splendour.
by an elaborate headdress in openwork centred by the Stylistically this figure follows in the sculptural tradition of
Amitabha Buddha
Height 62.8 cm, 24¾ in. the Yuan dynasty (1279-1368), when Tibetan Buddhism
became the court religion. The Mongol court intensified
£ 100,000-150,000 political, religious and artistic contacts with Tibet, which
HK$ 980,000-1,470,000 US$ 125,000-188,000 resulted in the emergence of a new style of Buddhist art.
With the founding of the Ming dynasty, Tibetan-Buddhist
明十五/十六世紀 漆金銅觀音菩薩坐像 sculptures continued to exert a strong influence, and
under the patronage of the Yongle Emperor (r. 1403-1424),
Tibetan and Nepalese artisans were employed in Beijing
to furnish the halls and palaces in the newly-established
capital. By the 16th and 17th centuries, Buddhist gilt-
bronze figures gradually moved away from Tibetan models
and began to depict Avalokitesvara with feminine features.
This piece appears to represent an intermediary stage
between these two sculptural traditions; the figure’s
well-defined waist and bare chest adorned with beaded
jewellery recall the gilt-bronze sculptures of the early
15th century, while the slightly stiff pose, small lips and
upturned chin, as well as its floral earrings and crown are
precursors of late Ming dynasty sculptures.
Avalokitesvara is the most popular bodhisattva in
Mahayana Buddhism, and is known in China as Guanyin,
short for Guanshiyin (The one who perceives the sounds
of the word). As the earthly manifestation of Amitabha
Buddha, his crown features an image of a meditating
Amithaba. Guanyin is described in Chapter 25 of the
Lotus Sutra, first translated in Chinese in AD 286, where
the bodhisattva is referred to as Lokesvara (Lord of all
beings) and Lokenath (Lord and protector of all beings).
In this text, Buddha describes Guanyin as the one who
compassionately provides release and deliverance to all
those that suffer, characteristics embodied in this figure
through its hand gesture: the varada mudra expresses
the deity’s compassion and devotion to the salvation of
all sentient beings, while the abhaya mudra symbolises
protection and peace.
Such large figures of the bodhisattva Avalokitesvara
are unusual, and no closely related example appears
to have been published. Compare gilt-bronze figures of
bodhisattvas attributed to the 16th and 17th century, such
as two slightly smaller examples sold at Christie’s Hong
Kong, the first, 30th/31st October 1994, lot 394 (one of
two figures), and the second, 30th April 1995, lot 606.
See also a larger gilt-bronze figure, attributed to the 15th
century, offered in our Hong Kong rooms, 8th October
2009, lot 1725.

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