Vajrasattva Gilt copper and semi-precious stones Tibet

The archetypal Buddha Vajrasattva seated with legs crossed in vajraparyankasana, hands in the customary position holding the ghanta in the left, the Buddha adorned with sumptuous gem-set bodhisattva jewelry and a vajra-topped helmet, dressed in a short floral patterned dhoti tied at the wait with a jewelled belt.

Generally in very good condition, with very little wear to the original gilding: The colour of the gilding is deeper and richer than the catalogue illustration. The majority of semi-precious stone inlay is original with the exception of the urna which is set with a replaced turquoise. Some settings now empty and some with damage stone inlay such as the coral pendant at the centre of the necklace. The separately cast bell now missing from the ghanta held in the left hand, the vajra handle remaining. The vajra missing from the right hand now replaced with coral beads. Minor casting flaws overall. The sealing plate now removed from beneath the legs with non-original consecration material remaining. Casting flaws and original repairs mostly confined to lower back.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

In this exceptionally fine and rare sculpture Vajrasattva, Adamantine Being, appears strong and youthful yet with a compassionate gaze, his exalted regal status evident in his sumptuous crown and jewelry. The sculptural style of this important deity in the Tibetan pantheon is closely related to the artistic traditions of the Newars whose skills were highly appreciated by Tibetan patrons of the arts from the seventh century onwards. Compare the full and muscular modelling, the similar style of armband and elements of the three-leaf crown style of the seven important circa twelfth century Nepalese gilt copper bodhisattvas in the Great Assembly Hall of Sera Monastery, see Ulrich von Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2001, pp. 948-57. Compare also the floral dhoti pattern with a slightly later Newar made Tibetan gilt copper Manjushri in the Berti Aschmann Collection, see Helmut Uhlig, On the Path to Enlightenment: The Berti Aschmann Foundation of Tibetan Art at the Museum Rietberg Zürich, p. 112, fig. 64. Vajrasattva, is regarded as an archetypal Buddha remaining as bodhisattva for the benefit of sentient beings, and is supplicated in rites of purification.