A gilt-bronze figure of Maitreya, Mark and period of Yongle

Maitreya, a key figure in all schools of Buddhism, is considered to be a future reincarnation of the Buddha. Though depicted here residing in Tushita Heaven as a princely bodhisattva, his face is imbued with compassion, the elongated leaves about his shoulders are a sign of Maitreya’s future role: teaching the masses as Buddha beneath the naga-puspa tree in a future aeon. His depiction alongside a water vessel, in this case a kundika that rests by Maitreya’s right shoulder is a feature shared with depictions of the earlier deity Brahma and may represent the legend that Maitreya is to be born of the noble Brahman caste; see Christian Luczanits, Gandhara: The Buddhist Heritage of Pakistan, Mainz, 2009, p. 250.

This very finely cast figure exemplifies the intricate detail and sophisticated nuance of expression of figures produced at the workshops of the Yongle Emperor. Continuing the tradition set by their Mongol predecessors, the court of the Ming dynasty were keen to maintain a warm relationship with the lamas of Tibet and frequently exchanged gifts like the present lot as tokens of this friendship. This figure, combining the love of adornment and broad shoulders of the Tibetan artistic tradition with the subtle elegance and flowing robes of fifteenth century Chinese art, is a triumph of cultural exchange and artistic mastery. The sculpture is elegantly cast seated in vajraparyankasana on a double lotus pedestal, with hands in dharmachakra mudra, two long lotus stems resting between thumbs and forefingers, a kundika on the blossom by the right shoulder, the upper body bare but for a scarf draped over broad shoulders, lotus arm cuffs, bracelets and an elaborate jewelled pectoral, legs covered with a dhoti and jewelled belt spreading over the rear, the broad face facing down with a benevolent expression framed by ornate wheel-shaped earrings and the hair drawn up into a seven-part chignon behind an eight-leaf diadem. 

While all Yongle bronzes were made to exacting standards, this Maitreya displays a particular finesse and attention to detail. Only one such Yongle Maitreya is recorded by von Schroeder in his survey of the holdings of Tibetan monastery collections, see Ulrich von Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2001, pl. 343F.  Compare also a Maitreya of Yongle mark and period from the collection of Tuyet Nguyet and Stephen Markbreiter, sold in our Hong Kong rooms, 7th October 2010, lot 2144; another sold in our New York rooms, 21 September 2007, lot 34; another included in the Chang Foundation exhibition Buddhist Images in Gilt Metal, Taipei, 1993, cat. no. 22; and a final example sold at Bonhams Hong Kong, 26th November 2007, lot 7 with an identical visvavajra symbol on the base. Compare also a bronze figure of Yongle mark, with the flower that would have supported the identifying attribute now missing – but likely representing Maitreya – illustrated in Ulrich von Schroeder, Indo-Tibetan Bronzes, Hong Kong, 1981, pl. 147E.