A MASSIVE GILT-BRONZE SEATED FIGURE OF A BODHISATTVA MING DYNASTY, 15TH CENTURY

finely cast and seated in dhyanasana on double-lotus petal pedestal, his left hand in avakashamudra and right hand in abhayamudra, the serene face with down-cast eyes surmounted with a seven-leaf crown, enclosing the tightly curled hair rising to an elaborate high chignon fixed with a jewel, the pendulous earlobes with flower-petal earrings, wearing a patterned shawl and dhoti elaborately bordered with chased and engraved lotus, peony and chrysanthemum on a circle-punched ground, the torso bare, wearing an elaborate beaded necklace and bangles, supported on an ungilded bronze double-lotus pedestal

The overall condition is quite good. There is natural corrosion and malachite encrustation on the non-gilded areas including the base and the hair. The base is contemporary with the piece. The middle finger on the right hand is possibly re-built as well as the tip of one of the crowns around the head.
"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 is among the largest extant gilt-bronze seated Bodhisattva images cast during the Ming dynasty and represents a major commission and technical accomplishment that could only have been instigated and sponsored by Imperial patronage, most likely for a significant temple within China. The exquisite detailing of the incised robes and individual beads of jewellery provide further evidence of the importance placed on the piece by its benefactor, as well as revealing the proficiency of bronze craftsmen with their medium. Compare closely related examples of smaller proportions, but with slight decorative variations in the crown, such as one in the Denver Art Museum, Denver, illustrated in Hai-wai- yi-chen. Chinese Art in Overseas Collections. Buddhist Sculptures II, Taipei, 1990, pl. 176; one  sold in our London rooms, 15^th April 1983, lot 75; and a third figure sold at Christie's Hong Kong, 16^th January 1989, lot 305. Two similar figures of much smaller size, but without the pleats of the robe at the chest, were sold in our New York rooms, 26^th March 1996, lot 8; and the other, 1^st December 1992, lot 196.

The method by which this image was produced was the 'lost wax' process, developed in ancient China for the production of ritual vessels. It consisted of first making a clay or wooden model of the image which was then covered with many coatings of wax which, after hardening, was surrounded by a clay mantle. During the firing, the wax melted and flowed out of the interstice between model and mantle after which liquid bronze was poured into the space vacated by the wax. This long process presented craftsmen with many difficulties, as it was only after the metal had cooled and the mantel had been removed that they could see whether or not the casting had been a success.

The design of large blossoms stemming from a slender lotus scroll that embellishes the edges of the robes of the current figure is reminiscent of the blue and white porcelain decoration from the Hongwu, Yongle and Xuande reigns of the Ming dynasty, indicating the popularity of this motif at the time. While the bronze craftsmen may have been inspired by contemporary porcelain designs when conceiving the decorations of the robe, it is more likely that they were emulating the designs of popular silk or damask patterns frequently found on Ming textiles. For example, see a yellow-ground silk with a design of red lotus scrolls, illustrated in The Complete Collection of Treasures of the Palace Museum. Textiles and Embroideries of the Ming and Qing Dynasties, Hong Kong, 2005, pls. 103, 104 and 133.

The form of Buddhism that became popular in China centred on the worship of bodhisattvas, enlightened beings who postpone their own escape from worldly existence in order to help others attain enlightenment. Thus, unlike Buddha figures, who wear simpler robes and short curls of hair, bodhisattvas are depicted in princely attire, decorated with elaborate clothing, jewellery and hairstyles as seen in the present sculpture.