A RARE SHRINE OF THREE GILT-BRONZE FIGURES OF AMITAYUS QING DYNASTY, QIANLONG PERIOD

the three figures of the long-life deity depicted appearing in sambhogakaya, or apparitional manifestation of the Buddha Amitabha (immeasurable light), wearing celestial adornments and with hands clasped in samadhi mudra holding a long-life vase (Tib. tsebum), each seated in vajraparyankasana on a tiered and angled pedestal with a tripartite screen behind finely decorated with golden motifs, the throne further placed within an elaborately carved nanmu shrine with a gilt-bronze ratna finial and three glazed windows framing the deities

The three Buddhas are made partly in repoussé (the bases) and partly with cast elements (torso /arms and heads) that have been assembled together.‎ The three Buddhas appear to have been re-consecrated during the second half of the 20th century, with 'sutra' scrolls and incense sticks set inside each figure (photographs available upon request) and resealed. The base plates are likely to be later replacement. The 'nammu' stand and the shrine cabinet have also been extensively refurbished probably on the same occasion, with repairs and reconstructions showing, especially to the top of the 'nanmu' stand on the underside and along the sides where some sections appear to be made of a wood with a different grain. The cabinet itself is old but may well be associated to the Buddhas.Otherwise the three figures are generally in good condition. The upper sections of the bodies are made of gilt bronze and have been further painted with cold gold in the typical Tibetan tradition. The lower bodies, the earrings, crowns billowing scarves as well as the locks of hair curling over their shoulders are all made in the repousse technique. The crowns and vases each deity holds in their hands can be removed. There is some slight wear and oxidation to the cold gilding predominantly to the arms of the figures. Further occasional rubbing to the cold gilding on the figures, as well as to the blue pigment on the hair. The bases are sealed and secured with three screws except for one of the figures where the screws are missing. The base plates itself are likely to be later replacements.The cabinet itself is distressed as visible on the catalog photo. Several elements of the openwork cresting as well as the lower openwork rail surrounding the cabinet are missing. The three sliding doors closing the cabinets are generally in good condition. Two of them are still mounted with an ol glass window while the third one seems to have a replaced glass window.
"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."

Shrines dedicated to multiple images of the long-life deity Amitayus (immeasurable life) were popular in the Qing dynasty: at least five examples are housed at Rehol, some in carved and gilt-painted wood like the present example and others in cloisonné and gilt metal, see Vicky Hsu, Jack Cheng, Lin Lin Chang, eds, Buddhist Art from Rehol: Tibetan Buddhist Images and Ritual Objects from the Qing Dynasty Summer Palace at Chengde, Jeff Hsu’s Oriental Art, Taiwan, 1999, pp. 62-3, cat. nos. 12-1, 12-2, p. 181, cat. no. 80, p. 203, cat. no. 92 (fig. 1), p. 215, cat. no 98. The collection at the Summer Palace contains at least a further four carved wood shrines housing single images of the deity, testimony to the popularity of Amitayus at the court of the Qianlong Emperor, ibid, pp. 191-3, cat. nos. 86-7, pp. 197-9, cat. nos. 89-90. The statues of Amitayus housed in the present shrine are painted according to Tibetan tradition with cold gold highlighting the bodies of the deities contrasting to decorative effect with the burnished mercury gilding of the robes, scarves, jewellery and lotus bases. The statues are located on a tiered and angled pedestal with a tripartite screen behind, all decorated with golden motifs, cf. the decoration of a carved and painted shrine at Rehol, ibid, p. 202, cat. no. 92. The throne is placed within an elaborately carved wood shrine with a gilt bronze ratna finial and three glazed windows framing the deities within, cf. the carving and windows of a shrine at Rehol, ibid, p. 215, cat. no. 98. The multiple similarities between the present shrine and those at Rehol might indicate Chengde as its possible place of manufacture: there is a preponderance of Amitayus shrines in diverse forms at the Summer Palace which is not seen at the Qing Palace in Beijing for example, or at other Buddhist sites.

Amitayus is perhaps the most popular long-life deity in Tibetan Buddhism and appears here in sambhogakaya, or the apparitional manifestation of the Buddha Amitabha (immeasurable light), wearing celestial adornments and with hands clasped in samadhi mudra holding a long-life vase (Tib. tsebum). Here the deity is depicted in his more commonly seen emanation seated in vajraparyankasana: he may also be portrayed standing upright with his hands in samadhi mudra holding a patra begging bowl, often with hair reaching to the ankle to indicate longevity. Amitayus is sometimes portrayed in a group of Three Long-Life Deities that include Ushnishavijaya and the White Tara.