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Lot 81

A RARE AND FINE WESTERN TIBETAN BRONZE AND COPPER-INLAID SEATED AKSHOBHYA BUDDHA, 14TH/15TH CENTURY
The figure is seated in vajrasana on a lotus base, the vajra in front, his right hand in humisparamudra, and his left hand resting on his lap, the back is incised with a Tibetan script.

A very similar Buddha without lotus base from the same period, formerly in Robert H. Ellsworth collection, see Christie's New York, 21 Sep. 2007, lot 180; another gilt example, see the same house, 16 Sep 2008, lot 522; A copper alloy Lama dated from the same period, see Bonhams New York, 14 March 2017, lot 3263.

It's with an original authentication certificate issued by Hollywood Galleries, Hong Kong, 27th January, 1999 (Certification No. 610).
藏西 十四/十五世紀銅錯紅銅阿閦佛坐像

佛像結跏趺坐於蓮座,右手觸地印,左手禪定印,座前置金剛杵,背部刻藏文銘文,造型莊嚴,為十四/十五世紀藏傳佛教造像之佳例。

源流:
墨爾本圖拉克資深私人舊藏,1999年購於香港東寶齋藝廊,附帶原始證書(編號610)

備註:
此尊早期釋迦牟尼佛造像,比例均衡,姿態悅目。青銅歷經數百年呈現深厚色澤,觸感光滑。
佛陀達至最終禪定境界的穩固不變,藉由其腳踝置放的小金剛杵得以象徵。金剛杵本身寓意「不變」與「絕對」。

造像表面光澤怡人,顯示曾被頻繁供奉把玩——這在西藏佛像中極為少見。佛衣緊貼身體,以透視式衣紋呈現,為五至六世紀印度流行之風格。
底座似乎保持原封未動,可能仍藏有原始聖物,使其長達六百年的供奉與加持延續無阻。

——墨爾本蒙納士大學
戴維‧坦普曼(David Templeman)教授


16cm high; weight 722g

Estimate $4,000 - $6,000

Sold for $8,500

There is an old restoration on the upper left arm, otherwise overall in a good condition.


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The opinions expressed in the condition reports are a guide only and should not be treated as a statement of fact. Prospective buyers are encouraged to seek further information or request additional images during our pre-sale period where Leonard Joel staff are available for advice. Please note condition reports can be amended during the pre-sale period, so we strongly suggest any interested bidders check the published condition report available on the website before the auction commences. Leonard Joel makes no guarantee of the originality of mechanical or applied components. Absence of reference to such modifications does not imply that a lot is free from modifications.


A private old collection, Toorak, acquired from Hollywood Galleries, Hong Kong, 27 January, 1999, with an original certificate (No. 610).


This early image of the Buddha Shakyamuni is both balanced and pleasing. The bronze has adopted a rich colour over the centuries and is smooth to the touch.
To signify that the Buddha's achievement of the final state of meditation is absolutely unchangeable is confirmed by the placing of a small vajra at his ankles. The vajra is a symbol which signifies both unchangeability and absoluteness.
The sheen of the image's surface is most pleasing and suggests a great deal of handling - which is unusual for Tibetan images which are handled only rarely. The image's robes sit very snugly against the Buddha's body in the diaphanous style which became increasingly popular in India in the 5-6th cent C.E.
The image's base-plate appears to have remained untouched and possibly contains the image's original blessed items lending it an unhindered lineage of reverence for up to 600 years.
By Dr. David Templeman, Monash University, Melbourne

此尊早期釋迦牟尼佛造像,比例均衡,姿態悅目。青銅歷經數百年呈現深厚色澤,觸感光滑。
佛陀達至最終禪定境界的穩固不變,藉由其腳踝置放的小金剛杵得以象徵。金剛杵本身寓意「不變」與「絕對」。

造像表面光澤怡人,顯示曾被頻繁供奉把玩——這在西藏佛像中極為少見。佛衣緊貼身體,以透視式衣紋呈現,為五至六世紀印度流行之風格。
底座似乎保持原封未動,可能仍藏有原始聖物,使其長達六百年的供奉與加持延續無阻。

——墨爾本蒙納士大學
戴維‧坦普曼(David Templeman)教授


Important Chinese and Asian Art

AUCTION
Sale: LJ8791
11:00am - 2 November 2025
Hawthorn

VIEWING
Thur 30 Oct - Sat 1 Nov, 10am - 4pm
2 Oxley Rd, Hawthorn VIC

CONTACT
Luke Guan
asianart@leonardjoel.com.au


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