Rare statuette d'Avalokitesvara en bronze doré Chine, dynastie Ming, marque et époque Xuande (1426-1435)

représenté assis en dhyanasana sur une double base lotiforme, les mains réunies en dharmacakramudra, vêtu d'un fin dhoti, arborant des bijoux précieux, une tige sinueuse chargée de fleurs de lotus s'enroulant autour des bras, le visage serein, le front orné de l'urna ceint d'une riche couronne retenant la chevelure ramenée en un haut chignon, inscription Da Ming Xuande nianzhi à six caractères incisée sur le socle devant la divinité, la base non scellée ; accidents et manques

The tip-end of one finger to the right hand of the figure is broken off and missing as are parts of the flowers, stems and ribbons of the lotus flowers on both sides of the figure. There are bits broken off and missing from the crown. The nose has been scratchd and the tip is dented. The gilding on the figure and base is worn, particularly over the mark. The base is open and empty. There is the Chinese character si for the number four cast on the front inside the base.
"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 bronzes depicting the Vajrayana Buddhist pantheon commissioned for the Xuande emperor are amongst the most elegantly modelled sculptures of the early Ming period, meticulously cast and richly gilded. The poise and gently swaying posture of the present example is typical of this graceful style, with the deity seated on the distinctive early Ming period lotus flower pedestal with its full and rounded petals extending evenly to the back of the base. Maitreya, Manjushri and Vajrasattva hold their hands in the dharmachakra mudra, but owing to the lack of attributes that would have been borne by the partially lost flowers it is not possible to firmly distinguish this figure's identity. A marked Xuande period Manjusri in the Berti Aschmann Collection at the Museum Rietberg is remarkably similar in posture and mudra to the present figure, see Helmut Uhlig, On the Path to Enlightenment, Zürich, 1995, p. 119.