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20 with chased lozenges, as revealed under his armpits. The caster has
A SILVER AND COPPER INLAID enhanced the bronze with a sense of volume throughout the plump
COPPER ALLOY FIGURE OF MANJUSHRI lotus petals, toes, fingers, and rounded jewelry. The sutra’s binding by
Tibet, 14th/15th century his left shoulder is painstakingly modeled.
His toes relaxed into the meditation posture above an ornate double
lotus base, he sets the dharma in motion with his hands and from The shortened sword by his right shoulder and his thick jeweled crown-
them sprout ardent lotuses that bloom with the sword and sutra either elements are typical of the style favored in the Yongle period (1402-
side of his sincere and reassuring expression; remains of lacquer on 1424), see Ulhig, On the Path to Enlightenment, p. 119, no. 68. The
the reverse and a sealed base. floral patterns of his silks also indicate trade and cultural interactions
10 5/8 in. (27 cm) high between Tibet and China’s Yuan and early Ming dynasties. However,
$100,000 - 150,000 his broad facial type, ovoid crown leaf, and use of inlay bespeak the
Western Tibetan style with antecedents in the Kashmiri tradition; see von
西藏 十四／十五世紀 銅錯銀文殊菩薩像 Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, p. 129, no. 21F.
This finely cast bronze bears unique copper-inlaid dimples that magnify Referenced
his cheerful countenance. His lips, eyes, and urna are inlaid with silver HAR - himalayanart.org/items/61437
and copper and well defined. Seated in the otherwise austere double-
lotus pose, he leans to the left in an unusually relaxed posture, which
again amplifies his compassionate and approachable demeanor.
His silk garments are confidently incised with floral patterns wrapped Provenance
around his body. Even the underside of his silk mantle is embellished Christie’s, New York, 22 March 2000, lot 48
Private American Collection
36 | BONHAMS
