A RARE GILT-BRONZE SEATED FIGURE OF AVALOKITESHVARA MARK AND PERIOD OF YONGLE

the finely cast bodhisattva seated in lalitasana on a double-lotus pedestal with the right foot supported on a lotus emerging from the base, depicted with the right hand lowered on the knee holding an amrita bottle and the left held in kartari mudra in front of the chest, both hands holding long stems of lotus flowers blossoming at the shoulders, dressed in a dhoti fastened below the waist by a beaded girdle, the shoulders covered with a scarf, the chest, arms and feet richly adorned in beaded jewels, the face in a serene expression with eyes in a downcast gaze, the forehead marked with an urna, the blue painted hair drawn up in a knotted jatamakuta behind an ornate diadem fixed with saches billowing behind the ears, the front of the base incised with a horizontal six-character mark, the double-vajra decorated base sealed

Collection of Tuyet Nguyet and Stephen Markbreiter.
Sotheby’s Hong Kong, 7th October 2010, lot 2146.

The overall condition is very good. The gilding is in very good condition with rubbing to the places that were handled the most including the hands, sole of the foot, and lower back side. There are traces of the bright original blue pigment left, with possibly later added dark blue pigments in the hair. There is a small hole in the head behind the top of the crown that appears to have been a jewel that was placed which is now missing. The face is in almost original condition, with pigments remaining in the eyes and lips and a very shiny gold finish to the face. The base plate has been removed and replaced with a later base plate and the contents removed.
"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 popularity of Avalokiteshvara in early Ming China is evident from the numerous Yongle and Xuande sculptures representing different forms of the deity. In this delightful Yongle bronze, he is depicted in a form that has been popular in China from at least the Tang dynasty, where in sculpture and painting he is shown holding the elixir bottle and lotus, Wladimir Zwalf, ed., Buddhism: Art and Faith, London, 1985, cat. no. 291. A Five Dynasties painting and a Five Dynasties woodblock print dated 947 are both inscribed with similar verse in praise of the Great Merciful, Great Compassionate Saviour from Hardship, Avalokiteshvara Bodhisattva, ibid., cat. nos. 317 and 330. Both depict the bodhisattva with a bottle and lotus flower, and Roderick Whitfield identifies the vessel as a medicine bottle. A further Five Dynasties woodblock print shows the bodhisattva with the bottle and a willow branch, both symbols of healing, ibid., cat. no. 334. The manifestation of the bodhisattva depicted in the Yongle bronze is thus traditionally popular in China, and the association with medicine may suggest a cult relating to health and well being amongst devotees.

Although the style of the bronze is much influenced by Himalayan sculptural traditions, this form of Avalokiteshvara is not popular in Tibet: which seems to highlight a traditionalism in those responsible for the court's iconographic program, independent of Tibetan customs. This and indeed all the different Yongle and Xuande forms of the bodhisattva are modelled in the 'Indian' manner as a male deity, as opposed to the sinicised female aspect. This preference may be intended to reflect the form and gender of the deity as originally introduced into China from India, which would also be more in keeping for Tibetan Buddhists who were often the recipients of such sculptures. At least three other Yongle examples of this iconography remain, including one in the Potala Collection, Lhasa: Ulrich von Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2001, no. 355A. Another from the Berti Aschmann Collection is now in the Rietberg Museum: Helmut Uhlig, On the Path to Enlightenment, Zürich, 1995, cat. no. 52; and a third is in Collection J.P.H.Y., Belgium: Jan van Alphen, Cast for Eternity, Antwerp, 2004, cat. no. 78.

In this evidently popular manifestation of Avalokiteshvara the accessible nature of the bodhisattva is reflected in the open and relaxed posture and the charitable gesture of the right hand: painted eyes and lips enhance the compassionate downward gaze. Just the slightest wear to the gilding on this elegant example suggests respectful and gentle handling over the centuries.