十 / 十一世紀 銅鎏金觀音立像

the graceful figure standing barefoot with hands in anjalimudra, the upright body adorned with jewelry, wearing a long robe with a hood pulled over the tall tiara and chignon, head slightly turned, the forehead set with an urna above the narrow eyes and broad nose

There are losses to the tabs on the soles of the figure's feet and the end of the scarf on the right. the gilding has been touched up, but now shows signs of wear. The loop on the back of the figure's head is cracked and bent. The surface shows signs of age-appropriate wear with minor nicks and abrasion. There are also traces of lacquer on the surface.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

The slight turn of the head to the right of the present lot, indicates that it may have been an attendant figure, standing to left of a larger Buddha image along with another bodhisattva on the right.

The facial features of the present lot closely resemble those of figures dated variously to the Liao, Song and Five dynasties periods. See for example a figure of Guanyin dated to the Liao dynasty, illustrated in Hugo Munsterberg, Chinese Buddhist Bronzes, Tokyo, 1967, no. 56a; and another dated to the Five dynasties, illustrated in The Crucible of Compassion and Wisdom, Taipei, 1987, p. 195, pl. 90. The tiara of the present lot, with its height, foliate scrolls and raised knob on the center also appears to be related to these examples. In addition, the way the sash hangs from the belt and spreads out to touch the toes when it reaches the ground, is also similar in all these figures. 

Some of these figures which used to be attributed to the Liao dynasty or Five dynasties periods are now generally recognized as being from the Dali kingdom. For example the figure of Buddha illustrated in The Crucible of Compassion and Wisdom, op. cit, pl. 89, whose face also closely resembles the present lot.