A LARGE GILT-BRONZE FIGURE OF GREEN TARA MING DYNASTY, ZHENGTONG PERIOD |

seated in lalitasana on a double-lotus pedestal with beaded edges, the right hand lowered in varadamudra and the left raised to the chest in preaching mudra, each holding curled stems of uptala lotuses rising to the shoulders along the elbows, wearing a dhoti and a loose shawl over the shoulder, adorned with bejewelled necklaces around the waist and the chest, the face with a benevolent expression, flanked by a pair of long ears suspending pendulous earrings, crowned with a five-leaf tiara in front of a high chignon

A European private collection.

Christopher Bruckner, Chinese Imperial Patronage: Treasures from Temples and Palaces, vol. II, London, 2005, cat. no. 7.

The figure is in overall good condition, with just typical rubbing to the gilding and oxididation, as visible in the catalogue photo, and minor surface wear and casting imperfections.
"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."

This majestic sculpture portrays Green Tara (Syamatara) represented with a benevolent expression, seated in lalitasana on a double-lotus pedestal. It represents a clear development of the sculptural and iconographic traditions associated with the renowned gilt-bronzes of the Yongle and Xuande periods, and serves as a benchmark for stylistic evaluation of mid-fifteenth century Buddhist works. It is closely related to a Zhengtong reign-marked figure of Avalokiteshvara of smaller size but identical iconography in the Palace Museum Collection, Beijing, dated to 1441, illustrated in The Complete Collection of Treasures of the Palace Museum. Statues of Tibet, Hong Kong, 2008, p. 232, pl. 221. Compare also another rare example originally in the collection of Joseph Morak, dated to 1447, sold in these rooms, 7th October 2015, lot 3113. There are various tales relating to the origin of Tara, but one of the more common is that she appeared on a lotus flower on a lake formed by the tears of the Bodhisattva of compassion Avalokiteshvara. Her Sanskrit name comes from tar, meaning 'to cross”, signifying her role in helping to cross the ocean of existence, and she is also known as the “mother of all Buddhas and Bodhisattvas'. The two wives of the Tibetan King, Srong-Tsan-Sgam-Po, one a Nepalese princess, the other Chinese, were believed to be incarnations of Tara, and this gave rise to the two distinct forms: White Tara and Green Tara.