A SILVER-INLAID BRONZE FIGURE OF BUDDHA SHAKYAMUNI, LICCHAVI REVIVAL, HIMALAYAN REGIONS, CIRCA 17TH-18TH CENTURY

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A SILVER-INLAID BRONZE FIGURE OF BUDDHA SHAKYAMUNI, LICCHAVI REVIVAL, HIMALAYAN REGIONS, CIRCA 17TH-18TH CENTURY Scientific Analysis: SEM analysis identifies the metal as a copper-rich, high-zinc alloy (brass), composed principally of copper (65.1 ± 2%) and zinc (32.4 ± 1%), with minor amounts of tin (1.2 ± 0.1%), iron (0.9 ± 0.1%), nickel (0.4 ± 0.4%), and lead (0.2 ± 0.2%). The composition is consistent with the use of high-zinc copper alloys in Himalayan metal sculpture. Heavily cast, the Buddha stands in slight tribhanga with his right hand lowered in Varada mudra and the left raised in abhaya mudra, each hand with delicately articulated fingers. He wears a long dhoti beneath a slightly shorter sanghati. The face is finely modeled with full lips lined in copper, aquiline nose and silver inlaid eyes with incised pupils beneath finely wrought eyebrows. The face is framed by concentric lines of spiral hair tufts rising to an ushnisha topped with a bud-form knop. The back set with three tangs, originally serving to secure the figure to a separately made aureole, mandorla, or other backing structure, and a square consecration aperture closed by its original copper seal, possibly still retaining sacred contents deposited within the figure during ritual consecration. He works both nationally and internationally, making use of well-established relationships with valued and esteemed academics, important private collectors, museums, and institutions. Dimensions: Height 35.2 cm (excl. stand), 37.2 cm (incl. stand) With a modern stand. (2) This silver-inlaid bronze Buddha exemplifies the enduring influence of Gupta and Licchavi artistic traditions, demonstrating how classical Indian sculptural ideals were absorbed and exerted great influence into the arts of northern India, Nepal, and Tibet, leading to a remarkable stylistic continuity across these regions. A larger Gupta copper alloy Buddha in the Metropolitan Museum of Art, object number 69.222 (fig. 1), shares the same slender contours and transparent drapery, emphasizing fluidity. See also an example from Bihar dated circa 550 in the Norton Simon Museum, accession number F.1972.01.S (fig. 2). The next stage of this evolution is exemplified by a Licchavi-period Buddha at Christie’s New York, 22 March 2023, lot 301 (fig. 3), with a more localized interpretation seen in the flowing robe and facial stylization. Tibetan, Newari, and Kashmiri sculptors alike integrated both traditions in later centuries, maintaining the Gupta foundation, while adopting the refined casting techniques of Nepalese artisans. See a west Tibetan silver and copper-inlaid brass figure of Buddha dated 11th century in the Ashmolean Museum, Oxford, accession number EA1994.134 (fig. 4); a Kashmir silver-inlaid copper alloy figure of Buddha dated circa 10th/11th century sold at Sotheby’s London, 7 November 2025, lot 818 (fig. 5); and an early Malla gilt-bronze figure of Shakyamuni, dated 13th century, sold at Christie’s Hong Kong, 2 December 2015, lot 2902 (fig. 6).

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