A RARE GILT-BRONZE STANDING FIGURE OF AVALOKITESVARA TANG DYNASTY

cast standing in abhanga with the hip slightly thrust to the left on an octagonal double-lotus base, the sensual figure rendered holding a handscroll, possibly a sutra text, in the left hand, clad in a dhoti with the upper body left bare and adorned with long loops of beaded jewellery draping over the body, further flanked by long cascading scarves, the face depicted serene and tilted downward, flanked by a pair of long pendulous earlobes, all below a neat pyramidal arrangement of ten small heads, the reverse of the head with a loop for the attachment of a mandorla

Collection of Sato Gengen (1888-1963).

Good overall condition, with just minor surface wear and minute dents and bruises. The gilding rubbed in places, but is well preserved for a Tang dynasty figure.
"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 slim features and elegantly curved posture of this bodhisattva are representative of the Tang dynasty artistic style, during which the Chinese sculptural tradition in all its major mediums reached a stage of blossom. The curving form of the deity’s torso achieves an almost dancelike movement. This highly recognisable stylistic element of the swayed-hip posture became especially popular during the reign of Emperor Xuanzong (712-756), when sculptures in general became more graceful in design. Compare for example a larger Tang figure standing on an elaborate lotus base in the Asian Art Museum of San Francisco, illustrated in Chinese Art in Overseas Collections. Buddhist Sculpture, vol. II, Taipei, 1990, pl. 119. 

It is rare to find Tang bronze sculptures executed with such elaborate details and so well preserved. Due to their fragility, the scrolling decorations around the figures rarely survive or survive only partially, such as a figure sold in our New York rooms, 22nd September 2004, lot 7.

For a comparable bronze figure of Avalokitesvara with slight variations in the design in the Metropolitan Museum of Art, New York, see Chinese Art in Overseas Collections, op. cit., pl. 117, illustrated alongside a smaller example cast with a similar scrolling base, in the Asian Art Museum of San Francisco, pl. 118; and a figure in the National Palace Museum, Taipei, included in the exhibition Recently Acquired Gilt-Bronze Buddhist Images, Taipei, 1996, cat. no. 8.