A GILT COPPER ALLOY FIGURE OF PADMAPANI LOKESHVARA, TIBET, 16TH-17TH CENTURY

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A GILT COPPER ALLOY FIGURE OF PADMAPANI LOKESHVARA, TIBET, 16TH-17TH CENTURY Metallurgy: The alloy composition is highly consistent with Tibetan metal sculpture of the 16th–17th century: Cu 94 ± 2.8%, Zn 5.1 ± 0.3%, Fe 0.3 ± 0.1%, Ni 0.4 ± 0.1%, and As 0.2 ± 0.1%, with only a very small amount of lead. This copper-rich, low-zinc brass, containing minor naturally occurring metallic impurities, is characteristic of the heterogeneous copper alloys employed in Tibetan workshops during this period. The mercury-gilded surface is likewise fully consistent with traditional Tibetan manufacturing practice. The lightly developed corrosion, composed predominantly of copper salts, further corresponds well with the expected long-term aging of such an alloy. Finely cast, the bodhisattva standing in a gently flexed tribhanga upon a separately cast lotus base, the right hand lowered in varadamudra and the left clutching the stem of a lotus blossoming beside the shoulder. He is clad in a diaphanous dhoti meticulously incised with dense foliate scrollwork, secured at the waist by an elaborate jeweled girdle, with long sashes falling gracefully between the legs. The slender figure is richly adorned with foliate earrings, necklaces, armlets, bracelets, anklets, and a long sacred thread descending across the chest. The sensitively modeled, gold-painted face bears a serene and benevolent expression, with downcast eyes beneath gently arched brows, a slender nose, and full lips forming a subtle smile. The hair retains traces of blue pigment and is gathered behind an elaborate foliate crown centered by a diminutive image of Buddha Amitabha. Expert’s note: This refined gilt-bronze figure of Padmapani Lokeshvara belongs to a distinguished tradition of standing bodhisattva imagery that ultimately derives from the golden age of Indian sculpture under the Gupta dynasty, during the 4th to 6th centuries. Its characteristic conception—a limber pose, bare torso, supple waist, and diaphanous lower garment—is exemplified by the celebrated standing Padmapani from Sarnath in the National Museum, New Delhi (fig. 1). The Newars of the Kathmandu Valley adopted and preserved this ancient sculptural idiom, gradually transforming it through the exaggeratedly narrow waists and swelling thighs associated with the early Malla style from the 13th century onward. Renowned throughout Asia for their mastery of metalwork and painting, itinerant Newari artists transmitted their techniques across generations and were frequently commissioned by Tibetan patrons for major religious projects, including the tashi gomang stupas at Densatil and thangka sets produced for Sakya and Ngor monasteries. Compare a related 14th-century Nepalese gilt-copper standing Padmapani in the Rubin Museum of Art, object number C2005.16.8 (fig. 2); and a smaller example dated to the 13th century at Bonhams New York, 16 March 2021, lot 309 (fig. 3). Avalokiteshvara, "The Lord Who Looks Down", does just so with a kind smile and a gesture of charity with his right hand. Avalokiteshvara is the paradigm of perfected compassion, one of the key virtues a practitioner must develop towards his or her own buddhahood. The master Newar depicts Avalokiteshvara arising from a lotus flower, an ubiquitous Buddhist symbol for any being's potential to rise from murky waters and realize their innate buddhahood. This form of Avalokiteshvara, known as Padmapani Lokeshvara, 'The Lotus Holder', echoes such symbolism, for by his hand help is provided toward enlightened salvation. Auction result comparison: Type: Closely related Auction: Christie’s New York, 19 March 2014, lot 1011 Price: USD 62,500 or approx. EUR 76,500 converted and adjusted for inflation at the time of writing Expert remark: Compare the closely related modeling and manner of casting with similar pose, crown, and facial expression. Note the smaller size (30.5 cm) and inlays.

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