Shadakshari Avalokitesvara Gilt copper and inset gems Nepal

The bodhisattva seated in vajraparyankasana with principal hands in anjali mudra, the stem of a lotus flower in the upper left hand and a mala bead held between thumb and forefinger of the upper right, wearing a tall three-leaf crown and various items of jewelry inset with gems, with a scarf folded at the left shoulder and falling at either side at the back, a tightly fitting patterned dhoti tied at the waist with a jeweled sash, the slack of cloth arranged in undulating folds before him.

Aquired prior 1980

Good condition overall, some of the stone inlay missing, some accretion, most likely from butter lamp smoke and traces of black paint on the hair. The patina is rubbed in places especially on high points. A tang 7/8 ins in length would have attached the piece to a separately cast lotus base now missing. No restoration.
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.

Shadakshari is one of the most popular forms of the bodhisattva Avalokiteshvara in the Himalayan regions, and personifies the six-syllable mantra om mani padme hum, the formula said to encapsulate the complete teachings of the Buddha. In Nepal Shadakshari is often represented in a triad flanking the Buddha, seated to the left with the four-armed Prajnaparamita to the right.

The statue is imbued with quality and the grace characteristic of early Malla period Nepalese art, with heavily lidded eyes suggesting a state of deep meditation, hands brought together in tender supplication, a rich gilding set off by jewelry decorated with subtle shades of colored gems. Compare the rounded volumes and the three-leaf crown of a Nepalese thirteenth century gilt copper Maitreya, gift of Samuel Eilenberg to the Metropolitan Museum of Art, see Martin Lerner and Steven Kossak, The Lotus Transcendent: Indian and Southeast Asian Art from the Samuel Eilenberg Collection, New York, 1991, p. 147, no. 117.