Maitreya Copper alloy with high tin content and silver inlay Eastern Thailand, Buriram Province, Prakhon Chai

The unadorned figure of Maitreya in ascetic form identified by the tiny stupa in his hair, the water pot (kamandalu) held in his left hand and the stem of a lotus in his right, Maitreya stands in a slight tribhanga, he wears a short sarong tied simply with a cord, the downcast eyes have traces of silver inlay, the hair arranged in a jatamukuta style, a high chignon with an arrangement of large loops.

Mr. and Mrs. John Bunker Collection
Carter Burden Collection
Sotheby's New York, March 1991, lot 187
European Private Collection

Emma C. Bunker, Pre-Angkor Period Bronzes from Pra Kon Chai, Archives of Ancient Art, vol. XXV, Asia Society, New York, 1971-72, p. 73, fig. 9.

The surface of the bronze oxidized and encrusted, some areas of the original highly polished surface showing through. Silver inlay in eyes tarnished. The top of the water pot in the left hand and the lotus flower in the right hand are both broken. There is a triangular tang beneath the feet for insertion into a separately made pedestal now missing. Good overall condition. 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.

This figure is one of the pieces from a famous hoard of bronze sculptures, depicting predominantly Buddhist figures including many examples of Maitreya and Avalokitesvara, found accidentally by villagers in 1964 in a province in Northeast Thailand, the so called Prakhon Chai hoard. Initial research was completed by Jean Boisselier in 1967 who dated the bronzes from between the seventh and the ninth century and subsequently scholars have studied the stylistic evolution of the Prakhon Chai bronzes, comparing them to the body of work from surrounding areas and endeavoring to fit them into an existing framework.  The discovery of the remnants of a huge bodhisattva found at Ban Thahnot and other images discovered at Ban Fai show similarities in style, as do Pre-Angkorian monuments dated to the 8^th century. Mon Dvaravati sculpture is also thought to have been an inspiration for the styles of the Prakhon Chai hoard, (see Denise Patry Leidy, Arts of Asia, Prakon Chai and the Art of Southeast Asia in the 7^th to 9^th Centuries, July/August 2000, pp. 28 - 41). This example shows the simple grace and relaxed pose associated with these bronze figures. The high tin content gives a silver appearance to the metal creating a luminescence, and the downcast eyes create a sense of piety.