A GILT-BRONZE FIGURE OF AVALOKITESVARA TANG DYNASTY, 7TH CENTURY AD

standing on a waisted lotus petal pedestal, wearing long flowing robes belted at the waist and falling in graceful folds above the bare feet, with right hand raised gathering a long trailing scarf onto the shoulder, the other hand falling to one side holding an ambrosia vase, the face with well defined features and a serene expression, the long hair upswept into a tall chignon secured by a diadem with a seated Amitaba Buddha in the center, behind a mandorla cast with flames radiating from a medallion of overlapping lotus petals, the back of the figure simply finished revealing folds of the robe and scarf

Minor chips to the face, body and pedestal. Areas of malachite encrustation. Typical wear and loss to gilding.
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.

Compare a figure in the British Museum, dated 595 and illustrated in Hugo Munsterberg, Chinese Buddhist Bronzes, Rutland, Vermont, 1967, fig. 49. Another sculpture of a similarly standing Avalokitesvara with mandorla formerly from the collection of Mrs. Enid Lodge and Mr. F. Brodie Lodge, and dated to 650, was sold in our London rooms, 14th March 1974, lot 16.  Another Sui sculpture dated to 597 is in the Metropolitan Museum of Art and illustrated in C. Deydier, Chinese Bronzes, Paris, 1980, p. 160, pl. 126. The flame-like mandorla and attenuation of the figure are characteristic of Sui style but the slight hip shift and hint of fleshy physicality in the present piece argues for an early Tang dating.