Buddha vajrasana Gilt copper and polychrome Tibet

The large gilt copper figure of Shakyamuni Buddha cast in three parts with hands in bhumishparsha mudra, seated in vajraparyankasana on a separately cast, parcel-gilt and painted lotus pedestal, with hair painted blue according to Tibetan tradition.

In very good and original condition, with very little wear to the gilding. The stone setting of the urna now missing. Minor denting and accretion overall. The bronze cast in five sections, all with original joints. The figure is unsealed beneath. 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.

Compare the throne type with its broad undulating petals and  the step between the upper register of petals and the seat with thirteenth and fourteenth Tibetan sculpture, see Ulrich von Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2001, pp. 1176-7, pls. 315A-E. Compare also the red painted lotus pedestal with a circa thirteenth century bodhisattva, possibly Khas Malla, see ibid, p. 528, pl. 173A. The practise of painting the ungilded surfaces of a gilt bronze is a Nepalese tradition and is seen in Nepalese and Khas Malla works, and on some Tibetan sculpture done by Newars. The practise is further observed on bronzes from the Imperial Chinese workshops of the Yongle period, where Nepalese craftsmen may have been employed. The bases of Yongle works are always ungilded and painted red.

The iconographic form in which the historical Buddha is seated, with his right hand in the earth-touching position, bhumishparsha mudra, recalls a momentous episode from his spiritual biography in which he triumphs over Mara just prior to his enlightenment. Having vowed to remain in meditation until he penetrated the mystery of existence, Shakyamuni was visited by Mara, a demon associated with the veils and distractions of mundane existence. The Buddha remained unmoved by all the pleasant and unpleasant distractions with which Mara sought to deflect him from his goal. According to some traditional accounts, Mara's final assault consisted of an attempt to undermine the bodhisattva's sense of worthiness by questioning Shakyamuni's entitlement to seek the lofty goal of spiritual enlightenment and the consequent freedom from rebirth. Aided by spirits who reminded him of the countless compassionate efforts he had made on behalf of sentient beings throughout his numerous animal and human incarnations, Shakyamuni recognised that it was his destiny to be poised on the threshold of enlightenment. In response to Mara's query Shakyamuni moved his right hand from the meditation position in his lap and touched the ground stating " the earth is my witness". This act of unwavering resolve caused Mara and his army of demons and temptresses to disperse, leaving Shakyamuni to experience his great enlightenment. The episode took place at the adamantine throne, vajrasana, beneath the bhodi tree at Bodh Gaya, eastern India, a location said to have been especially empowered to expedite the Buddha's enlightenment.