Portrait of a Lama Gilt copper and copper alloy inlaid with semi-precious stones Tibet

Acquired in Europe, early 1980s

Excellent overall condition. Original baseplate, stone settings, gilding and polychromy intact. Small loss to bronze on right side below vajra element.
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.

Cf. the throne of a Tibetan 12^th/13^th century Sadaksari Avalokitesvara bronze in the Donation Lionel Fournier, Musée Guimet, with an inscription stating that it was cast by the Indian artist Mangalanatha, see Heller, Tibetan Art, Milan, 1999, pls. 57, 59, 60. Both the Sadaksari and the lama have equivalent stepped and tiered thrones inset with jewels, silver and copper, with remarkably similar crouching lions, and represent Indian Pala period inspiration in early central Tibetan art seen in both sculpture and painting up to the fourteenth century. The throne type signifies an empowered setting that in India would have been reserved for the gods. In Tibet the throne type is often associated to Buddhist hierarchs who were considered to be fully enlightened beings, hence the lama's vajraparyankasana and bhumisparsa-mudra traditionally associated with the historical Buddha's moments leading to enlightenment. Although the identity of the lama can not be confirmed without accompanying lineage, the asana, mudra, chiselled jaw physiognomy, robe and cloak style and tiered lion throne may be compared with a mid-thirteenth century painted portrait of Sangye Yarjon (1203-1272), the third abbot of Taklung monastery, see Kossak and Casey Singer, Sacred Visions, New York, 1998, pp. 94-5, cat 19.