Statue en bronze doré du Bouddha Shakyamuni Tibet, XVE siècle

finement moulé, assis en vajrasana sur une double base lotiforme dont la partie inférieure est incisée d'une bande de lotus, la main droite en bhumisparsa mudra et la main gauche en dhyana mudra, vêtu d'un sanghati plissé à la bordure incisée d'un décor floral, les cheveux bouclés retenus en un haut chignon autour de l'ushnisha, le visage serein flanqué de longues oreilles percées ; scellé

Purchased in Shanghai in the 1920s by the family of George McBain, merchant and oil tycoon based in the city from the late 19^th century up to 1937.

The buddha is in overall very good condition. The base is sealed. There is some minor wear to the gilding along the raised parts of the figure and to the gilding on his knees, arms and hands, and on the ridge of his nose. The gilding is of a rich golden tone, the rims of his robe and the band across the base is finely incised with scrollwork.
"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. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The Buddha is modelled in the mature central Tibetan style, in which Indian, Nepalese and Chinese artistic traditions are fully assimilated in the fifteenth century. The incised pattern around the lower edge of the pedestal is an innovation commonly seen in this period, notably on a fifteenth century gilt copper Hevajra in the Sakya monastery, Li Jicheng, The Realm of Tibetan Buddhism, Hong Kong and Beijing, 1984, p. 63, pl. 29, and on two fifteenth century gilt bronzes, a seated Maitreya and a Vajradhara, both in the Jokhang, Lhasa, with engraved floral designs on the lower edge of similarly shaped lotus petal bases, von Schroeder, Buddhist Bronzes in Tibet, Hong Kong, 2001, Vol. II, p. 1065, pls. 272E, F.

The Buddha’s earth-touching gesture recalls an episode from his spiritual biography in which he triumphs over Mara (maravijaya) just prior to his enlightenment. Having vowed to remain in meditation until he penetrated the mysteries 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 freedom from rebirth. Aided by spirits who reminded him of the countless compassionate efforts he had made on behalf of sentient beings throughout his many 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 his lap to the ground before him, 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 embodied in this gilt bronze took place upon the adamantine site (vajrasana) at Bodh Gaya, which by tradition was especially empowered to expedite his enlightenment.