A LARGE PARCEL-GILT-BRONZE STANDING BUDDHA MING DYNASTY, 16TH CENTURY

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the enlightened deity standing barefoot firmly on a separate hexagonal lotus pedestal, dressed in a long flowing dhoti falling in crisp folds incised with lotus scrolls at the hems, with a shawl draped over the shoulders opened at the chest revealing his gilded chest emblazoned with a wan emblem, the extra cloth draped over his left arm, this right hand down by his side in varada mudra, his gilded serene face with downcast eyes, arched eyebrows and a bow smile, framed by long pendulous earlobes and tight curls encirling the domed ushnisha below a cintamani 'jewel' finial, fitted into the later added stone base with pegs on the soles of the feet

There is expected wear to the gilding, minor chips and losses to the edges of the robe, the backside left corner is missing a 20 cm section of the robe. There are casting holes and casting repairs, including small patches visible on the chest.
"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 impressive for its large size and is a remarkable example of the skilled workmanship of bronze craftsmen working during the Ming period. The rhythmic folds of the drapery capture a sense of movement as they flare away from the body and the intricate incised details around the edges are reminiscent of flower scroll motifs that adorned blue and white porcelain as well as contemporary textile designs.

This image is finely cast in the style of the second half of the Ming dynasty, with the flowing drapery and fuller face and torso. A parcel-gilt bronze figure of a seated Buddha with similarly rendered facial features and robes was included in A Special Exhibition of Recently Acquired Gilt-Bronze Buddhist Images, National Palace Museum, Taipei, 1996, cat. no. 25. Smaller related examples include a bronze figure with a Wanli mark and of the period sold in our London rooms, 8^th June 1983, lot 136; and a gilt-bronze example included in the exhibition The Crucible of Compassion and Wisdom. Special Exhibition Catalogue of the Buddhist Bronzes from the Nitta Group Collection at the National Palace Museum, National Palace Museum, Taipei, 1987, cat. no. 115.

The method by which this image was produced was the 'lost wax' process, developed in China for the production of ritual vessels. It consisted first of making a clay or a wooden model of the images which was then covered with layers of wax before being enclosed in a clay mantle. During the firing, the wax melted and flowed out of the interstice between the 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 mantle removed that they could inspect the success of the casting.