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A GILT COPPER ALLOY FIGURE OF A CROWNED BUDDHA NEPALESE ARTIST FOR THE TIBETAN MARKET 13 th /14 th CENTURY 161/2 in. (42 cm.) high Base with rectangular cavity at base of spine: consecration contents of multiple Tibetan manuscripts, clay stupa offerings, seeds, shell, cloth and wood provenance

Sotheby’s, London, 3-4 July, 1978, lot 430 Private Collection, acquired from the above

This commanding sculpture represents the historic Buddha Shakyamuni at the moment of his Enlightenment, depicted in the classic and authoritative bhumisparsha mudra, or “earthtouching” gesture. Seated in meditation and dressed in monastic garments, the Buddha extends his right hand downward, palm facing the ground, calling upon the Earth goddess to bear witness to his triumph over the temptations and distractions sent by Mara, the god of death. His left hand rests calmly above his lap, reinforcing the meditative stillness of the moment. The softly rounded face, with a prominent block-like chin and slightly crossed eyes, conveys inward concentration, while a faint, restrained smile lends the image a quiet authority.

The figure’s physical proportions are especially refined. The torso and arms are well balanced and harmoniously proportioned, with the torso rendered slightly longer and subtly attenuated, a characteristic feature associated with high-quality Himalayan sculpture of the period. The limbs are supple and naturalistic, enhancing the quiet vitality of the pose. The almond-shaped eyes, with pupils subtly indicated, gaze downward in deep concentration, reinforcing the spiritual focus of the composition.

The sculpture is richly endowed with the canonical marks of the Buddha’s supernatural status. The hair is arranged in small, crisply articulated curls and rises to a pronounced ushnisha, symbolizing supreme wisdom. Here, the ushnisha is further emphasized by a bud-shaped golden finial conceived as a jewel crowning the head. The crown itself is a rare and distinctive variant: rather than the more usual upright posts, it is set with three primary leaves of ten circular inset elements arranged as floral forms and two small intermediary leaves with singular gem insets. The band supporting the leaves is defined as chevron patterns ingeniously imitating lapis lazuli inlay and spaced with triple gem turquoise insets. Typical of the period, the crown is secured with a cloth band that falls in broad pleated bands with a gem-set terminal across the shoulders and another flower above each ear.

Between the eyebrows appears the urna, rendered as a raised circular frame that once held an inset stone, signifying spiritual insight. The elongated earlobes recall the Buddha’s former life as a prince adorned with heavy earrings, now transformed into a mark of renunciation. The palms of the hands and the soles of the feet are incised with chakras, eight-spoked wheels that allude to the Buddha’s First Sermon and the “turning of the wheel of the law” (dharmachakra). The eight spokes symbolize the Noble Eightfold Path, right understanding, thought, speech, action, livelihood, mindfulness, concentration, and view, here proclaiming Shakyamuni as both spiritual teacher and universal sovereign.

The treatment of the monastic robe (sanghati) is particularly distinguished. The plain expanse of cloth clings gently to the body, emphasizing restraint, while the hems across the torso and hems are richly articulated. Two prominent beaded hemlines frame the lower edge of the robe, accompanied by a third, slightly shallower beaded band. The hems are incised with band of loose scrolling vines and three-petal flower and the primary band carved with stylized so-called ricegrain patterns. Across the left arm bears only a single foliate hem indicating a secondary layer and behind the left shoulder the two layers converge with the fan-shaped pleated tassel drawn through the small window of the outer layer. The sculptor’s masterful and realistic rendering of the robes finishes in a flourish of the neatly pleated semi-circle between his legs.

The legs are arranged in the dhyanaasana, with the right leg placed above the left thigh and the left foot drawn close to the right thigh. The toes are subtly splayed, with joints carefully articulated and toenails discreetly incised, lending a gentle naturalism to the figure. The hands and feet are full and fleshy, reinforcing the sculpture’s physical presence while maintaining an idealized calm.

Remarkably this Buddha has the original consecration material preserved with the sculpture.

Although it was removed from the interior cavity of the body, the material has been documented with the sculpture when it first appeared at auction in 1978. A typed note preserved with the material

Consecration material preserved from inside the sculpture

Fig. 1. Crowned Buddha, h. 51 cm., Nepal, 13th–14th century (Tsz Shan Monastery Collection).

Fig. 2. An Important Giltbronze Figure Of Buddha ShakyamuniNepal, Early Malla Period, 13th Century 20 in. (50.8 cm.) high

Fig. 4. A gilt copper alloy figure of Shakyamuni Buddha, Nepal, circa 13th century, Norton Simon Museum of Art (M.1973.2.S)

Fig. 5. A gilt copper alloy figure of Shakyamuni Buddha,Nepal, circa 13th century, Tibet House Museum, New Delhi

Fig. 3. A Highly Important And Very Rare Malla Style Gilt-Bronze And Silverinlaid Seated Figure Of Buddha Shakyamuni Tibet, 13th–14th Century 15¾in. (40 cm.) high

Fig. 6. A gilt copper alloy figure of Shakyamuni Buddha, Nepal, circa 13th century, Museum der Kulturen, Basel, Switzerland

states. ‘Tibetan and Nepalese Sale 4.7.’78, Contents of Tibetan Crowned Buddha, lot 430, to be sold with the lot’.

The consecration material that has been preserved includes; a large quantity of moulded terracotta tsatsa in the form of stepped stupas, silk-bound and loose black paper manuscript pages bearing gold and silver Tibetan script; loose resist-dyed silk sections, seeds, grain, dried fruit, and soil.

In its refined proportions, distinctive crown type, ornamental vocabulary, and physiognomic features, this sculpture closely compares to a crowned Buddha formerly in the Thyssen collection sold at Christie’s, New York, September 2017 and now preserved in the collection of Li Ka Shing at the Tsz Shan Monastery, Hong Kong (FIG. 1). Both works have been attributed to Newar sculptors of the Kathmandu Valley, renowned for producing sophisticated Buddhist images for Himalayan patrons in Tibet and in the Khasha kingdom of northwestern Nepal, including the regions of Dolpo and Jumla, during the 13th–14th century. While the Tsz Shan Buddha is slightly larger at 50.5 cm it is less refined and overall bears

heavier proportions. Particularly notable is the manner in which the robe is finished at the back which includes the continuous incised motif along the hem and a square-panel along the corner of the robes.

Two notable important comparisons can be found in A standing Buddha (FIG. 2) from Nepal, 13th century (50.8 cm.), sold for HKD 80,200,000 ($10,347,404) at Christie’s Hong Kong, December 2015 and a silver overlaid Gilt copper alloy figure of Shakyamuni Buddha (FIG. 3) from Tibet, 13th– 14th Century (40 cm.) sold for HKD 50,940,000 ($6,530,769) Christie’s Hong Kong, May 2017.

Further related examples from Nepal from the 13th and 14th century can be found in Shakyamuni Buddha (FIG. 4) in the Norton Simon Museum, (34.9 cm.), Crowned Buddha, (FIG. 5) in the Tibet House Museum, New Delhi (23 cm) and another Crowned Buddha in (FIG. 6) the Museum der Kulturen Basel, (23.5 cm.). A later Crowned Buddha (FIG. 7) that follows in the heavier proportions of the Tsz Shan Buddha was believed to have been associated with the monastic complex of Densatil from the late 14th century as noted by Jean-Luc Estournel (https://www.asianart.com/articles/ densatil/index.html), fig. 364.

As such, this sculpture stands as an exceptional example of the Newar artistic tradition at its height, embodying spiritual authority and exquisite craftsmanship. This superb sculpture of Shakyamuni Buddha is the most important and largest example still held in private hands and its appearance on the market after 48 years represents a remarkable opportunity to acquire a masterpiece of world art.

Fig. 7. A gilt copper alloy figure of Shakyamuni Buddha, Tibet, Densatil Monastery, 14th/15th century, 58 cm. high

Comparing Two Masterpieces of the Crowned Buddha: Tsz Shan Monastery Buddha and the Buddha from the Private Collection

STRONG RESULTS AT CHRISTIE'S FOR CLASSICAL SOUTH EAST ASIAN SCULPTURES

1.

A GILT COPPER FIGURE OF SHAKYAMUNI BUDDHA NEPAL, LICCHAVI PERIOD, CIRCA 8th CENTURY 10½in. (26.7 cm.) high Estimate: HKD 5,000,000–7,000,000 Sold for HKD 9,525,000 ($1,225,000) Christie’s Hong Kong, November 2025 190% OF LOW ESTIMATE

6.

A LARGE AND IMPORTANT GILT BRONZE FIGURE OF AVALOKITESHVARA NEPAL, 13th CENTURY 25 in. (63.4 cm.) high Estimate: $2,000,000– 3,000,000 Sold for $8,229,000 Christie’s New York, March 2015 411% OF LOW ESTIMATE

2.

A LARGE AND IMPORTANT SILVER-INLAID GILT BRONZE FIGURE OF BUDDHA SHAKYAMUNI TIBET, CIRCA 1400 buddha 16⅛in. (40.8 cm.) high; 20¾in. (52.7 cm.) high with base Estimate: $1,000,000–2,000,000 Sold for $3,612,500 Christie’s New York March 2018 361% OF LOW ESTIMATE

7.

A RARE AND IMPORTANT BRONZE FIGURE OF A SEATED YOGI, POSSIBLY PADAMPA SANGYE TIBET, 11th–12th CENTURY 13½ in. (34.2 cm.) high Estimate: $1,000,000– 1,500,000 Sold for $4,869,000 Christie’s New York, March 2015 487% OF LOW ESTIMATE

3.

A LARGE AND IMPORTANT GILT BRONZE FIGURE OF BUDDHA NEPAL, 13th/14th CENTURY 19⅞in. (50.5 cm.) high Estimate: $600,000– 800,000 Sold for $3,852,500 Christie’s New York, September 2017 642% OF LOW ESTIMATE PURCHASED FOR THE COLLECTION OF LI KA SHING AT THE TSZ SHAN MONASTERY IN HONG KONG

8.

AN IMPORTANT GILTBRONZE FIGURE OF BUDDHA SHAKYAMUNI NEPAL, EARLY MALLA PERIOD, 13th CENTURY 20 in. (50.8 cm.) high Estimate: HKD 30,000,000 50,000,000 Sold for HKD 80,200,000 ($10,347,404) Christie’s Hong Kong, December 2015 267% OF LOW ESTIMATE WORLD AUCTION RECORD FOR A HIMALAYAN BRONZE

4.

A HIGHLY IMPORTANT AND VERY RARE MALLASTYLE GILT-BRONZE AND SILVERINLAID SEATED FIGURE OF BUDDHA SHAKYAMUNI TIBET, 13th–14th CENTURY 15¾in. (40 cm.) high Estimate on Request Sold for HKD 50,940,000 ($6,530,769)

5.

A MAGNIFICENT LARGE GILT-BRONZE FIGURE OF BUDDHA SHAKYAMUNI NEPAL, 14th CENTURY 18⅝in. (47 cm.) high Estimate: HKD 20,00,000 30,000,000 Sold for HKD 23,640,000 ($3,030,769) Christie’s ww

Christie’s Hong Kong, May 2017

118% OF LOW ESTIMATE

9.

AN IMPORTANT AND LARGE GILT BRONZE FIGURE OF A BODHISATTVA

10.

AN IMPORTANT AND MONUMENTAL GILT BRONZE FIGURE OF BUDDHA

TIBET, 9th–10th CENTURY 43¼in. (110 cm.) high

TIBET, 14th CENTURY 56 in. (142 cm.) high

Estimate on Request Sold for $2,811,750

Estimate on Request Sold for $3,666,500

Christie’s New York, March 2013

Christie’s New York, September 2008

YOUR DEDIC ATED CONTAC T

EDWARD WILKINSON Global Head of Classical Indian, Himalayan and Southeast Asian Art Christie's London

YOUR GLOBAL TEAM AT CHRISTIE'S EUROPE, THE MIDDLE EAST AND AFRICA

TIPHAINE NICOUL

ZHENG MA

CAMILLE DE FORESTA

Head of Department, Paris, Chinese Works of Art

Senior Specialist, Chinese Works of Art

Christie’s Paris

Christie’s Paris

Senior Specialist, Asian Art and Business Development Director, France and Monaco Christie’s Paris

DR. RIDHA MOUMNI Chairman, Middle East and Africa

MEAGAN KELLY HORSMAN

NOUR KELANI

Managing Director, Middle East

Managing Director, Saudi Arabia

Christie's London

Christie's Dubai

Christie's Riyadh

ASIA

RAHUL KADAKIA

KEVIN CHING

JONATHAN STONE

NICOLE WRIGHT

CHARMIE HAMAMI

PRAPAVADEE SOPHONPANICH

President, Asia Pacific

Chairman, Asia

Senior Advisor, Asia Pacific and Asian Art

Senior Vice President, Global Managing Director, Asian and World Art

Deputy Chairman, Asia Pacific and Managing Director, Indonesia

Vice President, Managing Director, Cambodia, Laos, Myanmar, Thailand and Vietnam

Christie's Hong Kong

Christie's Hong Kong

Christie's Hong Kong

Christie's Hong Kong

Christie’s Jakarta

Christie's Bangkok

REBECCA YANG

ADA ONG

CHI FAN TSANG

SONAL SINGH

HAK JUN LEE

KATSURA YAMAGUCHI

Chairman, China

Deputy Chairman, Asia Pacific and Chairman, Taiwan

Deputy Chairman, Asia Pacific and International Director, Chinese Works of Art

Vice President, Managing Director, Korea

Senior Vice President, Managing Director, Japan and International Director Asian Art

Christie’s Shanghai

Christie’s Taipei

Christie's Hong Kong

Christie's Seoul

Christie's Tokyo

Chairman, India

Christie's Mumbai

AMERICAS

ADRIAN MEYER

TINA ZONARS

ALLISON RABINOWITZ

MICHAEL BASS

MICHELLE CHENG

ANDREW LUECK

Global Head, Private Sales

Co-Chairman, Asian Art

Specialist, Head of Sale, Classical Indian, Himalayan and Southeast Asian Art

International Director, Asian Art

Senior Vice President, Senior Specialist, Asian Art

Vice President, Specialist, Asian Art

Christie's New York

Christie's New York

Christie's New York

Christie's New York

Christie's New York

Christie's San Francisco