A LARGE COPPER ALLOY FIGURE OF A LAMA, POSSIBLY SONAM TSEMO TIBET, 16TH / 17TH CENTURY

cast seated in vajraparyankasana on a double-lotus base with beaded edges, the hands held in dharamcakra mudra before the chest while gently grasping two long stems of lotus stalks meandering around and extending along the arms to the shoulders, depicted with serene expression and downcast eyes, flanked by a pair of long pendulous earlobes, dressed in loose robes intricately incised with lança characters and floral borders, the garment gathering neatly in folds on the base

As visible in the catalogue photo, there is a loss to the attribute on the left shoulder. Otherwise, the figure is preserved in good condition, with just minor surface wear and oxidisation.
"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 monk is seated with hands raised in the attitude of teaching, dharmachakramudra. In Tibetan Buddhism the teacher/student relationship was paramount, for it was said that a disciple could become awakened only by contact with an enlightened spiritual master. Tibetan portrait sculpture incorporates the essential characteristics of these teachers – that of enlightened being and their idiosyncratic personality. In Indian art thrones and lotuses are reserved for the gods, Buddhas and bodhisattvas, but serve in Tibet as well for the seats of enlightened men.

Such richly symbolic iconographic settings clearly illustrate the great reverence in which Tibetans hold their teachers. Artists often recorded idiosyncrasies of lamas, intending to suggest their unique individual characteristics. In this sculpture the lama is portrayed with a youthful countenance, an athletic build and an intense meditative gaze all of which would have no doubt been instantly recognisable to his devotees. However, it is not possible to firmly identify the lama out of context due to the lack of inscription, the missing lotus flower at the left shoulder that may have supported an identifying attribute, and the lack of distinguishing headgear or clothing associated with particular Tibetan Buddhist orders. The style of engraving on the lama’s robe and sleeveless jacket would suggest a date sometime around the sixteenth or seventeenth century.