A LARGE PAIR OF COPPER REPOUSSÉ DEER MONGOLIA, 19TH CENTURY |

a male and female of deer, sitting quietly with their legs gently folded beneath them, their heads slightly lifted, their eyes aware and attentive and their ears erect

Christie's New York, March 21, 2007, lot 341.

In good overall condition. With surface wear throughout. Fabricated gilt layer, which is probably a brass mixture, is worn and flaking throughout. Cast in several pieces, the adjoining seams visible throughout. Right ear of female deer loose and can be removed. A scratch visible in the backside of the male deer.
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.

The symbol of the deer represents one of the four momentous occasions in the life of the Buddha. Having already attained enlightenment, the Buddha taught his first sermon at Sarnath, in a scene often referred to as the The First Turning of the Wheel of Dharma. Surrounded by his disciples and deer in a place commonly referred to as Deer Park, the Buddha laid the ground for the main tenets of Buddhism, including the Four Noble Truths and the Eightfold Path. Representations of this scene became some of the most important in Buddhism, depicting the Buddha enthroned, supported by a pair of deer with the symbol of royalty, the chakra, between them. The subject appears as early as the Kushana period, an early example which can be found in S. Huntington, The Art of Ancient India, 1985, illus. no. 8.22. Repetition of the form, two profiled deer framing the dharmachakra, became an affixed part of Buddhist iconography, and was often referenced as an architectural detail on monasteries. It is likely, based on the size of these deer, that they were supporting elements in the architectural program of a Buddhist temple.

For another pair, see R. Thurman and D. Weldon, Sacred Symbols, The Ritual Art of Tibet, 1999, cat. no. 1.
For another example, see P. Berger and T. T. Bartholomew, Mongolia: The Legacy of Chinggis Kham,1995, cat. no 66.