A RARE GILT-BRONZE FIGURE OF A BODHISATTVA LIAO DYNASTY

the deity seated in dyhanasana dressed in a dhoti tied below the chest, the shoulders covered with a short capelet held in place by a beribboned floret yoke across the chest and draping down the back, the right hand held in varadamudra and the left held in vitarkamudra, the serene face with almond-shaped eyes below arching eyebrows, framed bya long pendulous earlobes and hair divided into sections and tied into five knots around the head, supported on a circular waisted lotus petal base with upright overlapping petals encircling the dais

Sotheby's London, 6th December 1994, lot 27.

The overall condition is very good with only some minor loss to the gilding on the face (from handling), around the front four petals and small flakes on the body. There are a few minor patches of regilding. The tip of the nose is rebuilt.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The present figure of the bodhisattva Avalokitesvara belongs to a small group of exquisitely modelled Buddhist gilt-bronze sculptures which are related to the famous large clay bodhisattvas of the Liao dynasty at the Lower Huayan Temple at Datong in Shanxi province dated to 1038 A.D. Masterfully executed to capture a dignified and serene quality, the figure is characteristic of Liao Buddhist statuary; such as the seated half-lotus position in a lotus flower, the elegant belted robe, the knotted ribbon that falls down either shoulder, and the round face rendered with delicate features. The rare five-bun hairstyle is symbolic of the five kinds of wisdom and only one closely related bodhisattva but of slightly smaller size is known, in the Nelson-Atkins Museum, Kansas City, illustrated in Marilyn Greidig Gridley, Chinese Buddhist Sculpture Under the Liao, New Delhi, 1993, pl. 102, fig. 144; and another, but with one leg pendant, in the National Palace Museum, Taipei, included in the exhibition Recently Acquired Gilt-Bronze Buddhist Images, Taipei, 1996, cat. no. 14.

As the Liao emperors were devout followers of Buddhism, the religion and art flourished under their reign. The Buddhist imagery of this period inherited the styles of the Tang dynasty, which suited the bold and liberal characteristics of the northern nomadic people, while integrating the refined spirit of the Song dynasty, thus resulting in a richly unique beauty. Despite the Liao dynasty's relatively short history, their promotion and contribution towards the promotion of Buddhism in China is significant.

Only a small number of Liao bronze bodhisattvas of this type are known; see one in the British Museum, London, included in the Exhibition of Buddhism, Art and Faith, British Museum, London, 1985, cat. no. 294; another  in the Shanghai Museum, illustrated in Gridley, op. cit., pl. 109, fig. 152; and a third in the Metropolitan Museum of Art, New York, acquisition no. 2006.284, illustrated on the museum's website.

Also known as Guanyin in Chinese, Avalokitesvara is believed to be merciful and relieve followers who utter her name from suffering, thus is the most popular and frequently depicted bodhisattva in China. She is usually depicted as a beautiful female figure with a gentle smile, adorned with worldly accessories such as a bejewelled headdress or tiara and richly ornamented necklaces to emphasise her non-ethereal status, in sharp contrast to the plain, austere images of the Buddha.