TIBET, 15TH CENTURY

This magnificent gilt-bronze figure of Bodhisattva Maitreya exemplifies a masterful synthesis of Nepalese and Tibetan sculptural traditions, reflecting the height of transcultural artistic exchange in early 15th-century Tibet. The sculpture seamlessly integrates the proportions of Nepalese bronzes with the refined craftsmanship of Central Tibetan ateliers, exhibiting the artisans’ adept ability to work within both traditions to suit the preferences of their patrons.
The muscular form of the bodhisattva evokes the strength and idealized physique seen in Nepalese sculptures, particularly those from the Early Malla period of the 14th century. The broad torso, muscular limbs, and rounded shoulders recall princely figures of this artistic tradition. The upright vajra at the crown serves as an homage to Nepalese-style headdresses, while the cinched lotus base and the carefully incised rice-grain patterns closely resemble those found in Early Malla period bronzes. The floral motif on the base, distinct from the typical vegetal scroll patterns of 15th-century Tibetan sculptures, further reinforces the Nepalese influence. Additionally, both the red lacquer applied to the reverse of the lotus base and the lifelike rendering of the interlocked, ring-adorned, fingers echo the Nepalese casting tradition.
Despite these clear Nepalese influences, the sculpture also bears hallmarks of a distinct Tibetan aesthetic, particularly those associated with the atelier of Sonam Gyaltsen, active in the Shigatse region around 1430. Several features suggest that this sculpture may have been a special commission associated with the renowned Sonam Gyaltsen atelier. The pinkish copper alloy, heavy gilding, and inlaid turquoise ornaments are characteristic of his style. The softly sculpted lotus petals combined with the careful detailing, align with known examples from this master’s workshop. Compare the shape of the lotus petals of the present work with the 15th century figure of Amitabha associated with the Sonam Gyalsten style sold at Christie’s New York on 20 March 2024, lot 552 and illustrated on Himalayan Art Resources, item no. 25114.
The diaphanous shawl draped over the bodhisattva’s shoulders is further testament to the sculpture’s Tibetan craftsmanship. Finely chased with cloud motifs, the delicate hem of the shawl subtly blends Chinese artistic sensibilities with Tibetan metalworking techniques. The meticulous incision of the triangular and rice-grain patterns on the hem of the dhoti is indicative of a Nepalese style created by a Central Tibetan workshop. The distinctive cross-shaped earrings further reinforce the Tibetan attribution. The Tibetan elements within the present work can be compared with a sculpture of a 15th century Maitreya from the Gyantse region of Tibet sold at Christie's New York, 23 March 2022, lot 423 for $415,800, illustrated on Himalayan Art Resources, item no. 24742. Further compare the shawl and ornaments of the present lot with an early 15th century sculpture of Amitayus attributed to the Sonam Gyaltsen atelier sold at Bonhams Paris, 12 June 2023, lot 117 illustrated on Himalayan Art Resources, item no. 16792.
Another noteworthy element of this sculpture is its facial expression, which combines stylistic influences from both Nepal and China. While Tibetan artisans of the 15th century often favored elongated, rectangular facial proportions, this piece instead features a rounder visage reminiscent of Yongle-period bronzes. The urna, rectangular in the Nepalese style and inlaid with turquoise, further reinforces this synthesis. Compare the facial expression of the present work with a imperially-commissioned Vajradhara from the Yongle period, sold at Christie’s Hong Kong on 30 May 2022, lot 2885.
The present sculpture may be viewed in relation to a monumental Shadakshari Lokeshvara made by Tibetan artisans in the Nepalese style preserved at Shalu monastery, illustrated by Ulrich von Schroeder in Buddhist Sculptures in Tibet: Volume Two, Hong Kong, p. 960 pl. 230A. This sculpture of a princely Maitreya stands as a testament to the rich artistic exchange between Nepal and Tibet, reflecting both the masterful hand of Tibetan artisans and their ability to seamlessly incorporate Nepalese aesthetics into their work.
Christie's would like to thank Tian Chen, University of Oxford, for the research of this lot