A Gilt-Bronze Standing Figure of a Ram Ming Dynasty, 15th Century

deftly and naturalistically cast as a ram with well-defined facial features, marked by bulging eyes and a prominent snout, framed by a pair of coiling ridged horns above small pointed ears, the spine accentuated by layers of curly hair hanging on either side of the body, each lock of hair finely detailed to display the thickness and tactile quality of the wool, the plump tail with a slightly curved tip, standing foursquare on cloven hooves, wood stand

It is in overall very good condition, except for two tiny patches of approx. 0.2 and 0.3 cm to the spine which have possibly been restored. The plate on the underside has been opened and resealed. There are also some typical wear, dents, and scratches (especially to the underside). There are traces of cinnabar red to the ears.
"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."

Superbly cast using the lost-wax method perfected by bronze artisans working for the imperial court in the early Ming dynasty, this exceptional gilt-bronze ram is unparalleled in quality and naturalistic detail for a miniature sculpture. The intricacy of the articulation of its naturalistic detail ranks it amongst the greatest non-Buddhist gilt-bronzes emanating from the imperial workshops in the early Ming dynasty, almost as fine quality as the much larger Xuande reign-marked gilt-bronze ‘duck’ incense burner and cover, offered in this collection as lot 85. Certainly, there are close similarities in the style of workmanship on both of these extraordinary sculptures. The manner in which the curly wool on the ram’s body is intricately cast in varying layers of relief, boldly intertwining yet consistently producing a three-dimensional effect, closely matches the outstanding layering of the feathers on the duck. The distinct and elegant curling of the ram’s tail is reminiscent of the curling of the duck’s plumes. Both are also notable for the opulence and brilliance of the gilding, comparable to the finest quality Buddhist gilt-bronze figures produced in the Yongle and Xuande periods. Clearly, no expense was spared in their production.

The first freestanding gilt-bronze sculptures of animals were produced in the Han dynasty using the lost-wax method, when the quality and innovation of ritual bronze vessels cast using the piece-mould technique had declined. Clearly, there was also a demand at the imperial court for realistic portrayals of domestic and exotic animals, both as everyday objects for the imperial family and aristocracy to enjoy and as treasures to adorn their tombs. For a small gilt-bronze figure of a horse attributed to the imperial workshops of Wudi (r. 141-87 BC), preserved in the Miho Museum, near Kyoto, see Ancient Art from the Shumei Family Collection, The Metropolitan Museum of Art, New York, 1986, cat. no. 66. The 6 cm high figure is exceptional for its realistic portrayal and naturalistic detail, endowed with a sense of vitality by the craftsmen and clearly produced as a work of art for the enjoyment of its owners, rather than merely for ritual use.

Sculptures of the quality of the Miho Museum horse are extremely rare, much more so than contemporaneous ritual vessels, but a small number would no doubt have been found and made available as inspiration for bronze artisans working for the imperial court in the early Ming dynasty. The concept and modelling of the ram sculpture may have been influenced by Han dynasty examples, but it is clearly a work of art in its own right, not just archaistic in spirit. What is clear though is that like the Han dynasty sculpture, which is much less frequently found than its ritual counterparts, the ‘ram’ sculpture and the ‘duck’ incense burner are far rarer than gilt-bronze Buddhist sculptures produced at the Yongle and Xuande court. In Buddhist Sculptures in Tibet, Hong Kong, 2001, p.1243, Ulrich von Schroder’s research has recorded fifty-four Yongle and three Xuande reign-marked bronzes in Tibet alone, with innumerably more preserved in museum and private collections in the outside world. However, sculptures of the quality of this ram are extremely rare, demonstrating that they were undoubtedly produced in much smaller numbers, probably for the personal enjoyment of high-ranking officials in the early Ming imperial court.