A GILT-LACQUERED WOOD HAND OF BUDDHA JAPAN, EARLY HEIAN PERIOD, 9TH CENTURY |

depicted held in avakasha mudra, well rendered with subtle curvatures to simulate a fleshy hand, the palm pierced an aperture, possibly once supporting the bumpa of Bhaisajyaguru, the back of the palm with extensive traces of gilding and brown lacquer

The upper parts of the third, fourth and little fingers are lost. As expected with its age and fragility, the lacquer has flakes and losses to the extremities, revealing the textile lining in some areas. Some age crackles and wear to the 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. 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."

Early Heian period Buddhist wood figures were carved in one block in the ichiboku-zukuri technique while the latter Heian and succeeding Kamakura period sculptures were usually conceived from hollowed out segments, carved separately and subsequently joined together in the so called yosegi and warihagi zukuri technique. However the limbs could be carved separately from different blocks and fitted to the figure. This is the case for the famed early Heian sculpture of the Healing Buddha Yakushi preserved in the temple of Jingo-Ji near Kyoto, illustrated in Sherman E. Lee, A History of Far Eastern Art. New York: H.N. Abrams, 1964. p. 284, which is actually missing both its original forearms and hands -probably similar to the present piece- and is now set with modern replacements.