Rare statuette de Sitatara en argent, or et cuivre doré Tibet, XVE/XVIE siècle

la tara en argent assise en vajraparyankasana sur une base lotiforme en cuivre doré, des tiges chargées de fleurs en argent incrustées de turquoises enroulées autour de ses bras, ses boucles d'oreille et sa couronne amovibles en or repoussé et incrustations de turquoise, scellé

The figure is in good overall condition. It is heavily cast, the base is sealed. There is some light wear to the gilding on the lotus base ; some light wear to the pigments and gilding on the face ; lotus flowers, crown and earrings are detachable.
"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."

White silver is often used in Tibetan sculpture to denote the iconographic colour of deities such as Sitatara, the goddess of longevity, colloquially known as White Tara. Silver statues furthermore are commonly attached to gilt copper pedestals to contrast and highlight the precious metal, compare, for example, a fifteenth century silver Milarepa on a gilt copper pedestal in the Nyingjei Lam Collection, illustrated in David Weldon and Casey Singer, The Sculptural Heritage of Tibet: Buddhist Art in the Nyingjei Lam Collection, London, 1999, p. 179, pl. 43. The use of silver with a contrasting gilt-copper pedestal is inspired by medieval eastern Indian Pala sculptural traditions; compare a Pala example illustrated ibid., p. 22, fig. 15.