西晉 越窰青釉堆塑樓閣佛像魂瓶

stoutly potted with a plain ovoid body, the shoulder set with two radiating platforms, the lower with eight contemplative Buddhas, hands in dhyanamudra, the figures divided by tiled pagoda roofs upheld by bear-form supports, the second tier with small temples, some with further bear-form pillars, surmounted by a central pagoda roof, all covered with a thin grayish-green glaze, Japanese wood box

Several of the roof tile ends have been restored as have some of the side walls of the small structures on the upper tiers.
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 Buddha figures on funerary jars such as this are among the earliest Chinese representations of the Buddha. The modeling of the figures shows a clear Gandharan influence as would be appropriate for the date with Buddhism travelling through Central Asia on its way East. Several related jars are illustrated in the exhibition catalogue by Yutaka Mino and Katherine R. Tsiang,  Ice and Green Clouds, Traditions of Chinese Celadon, Indianapolis Museum of Art, 1987, pp. 74-77, including a closely related piece with Buddha figures, fig. 24b.