A LARGE SILVERED BRONZE FIGURE OF BUDDHA SHAKYAMUNI, TIBETO-CHINESE, 15TH CENTURY, POSSIBLY IMPERIAL WORKSHOPS BEIJING

Expert’s note:
Superbly cast with gently sloping shoulders and a full, breath-filled chest, this impressively scaled figure of Buddha Shakyamuni exemplifies the synthesis of Tibetan and Nepalese aesthetics characteristic of early 15th-century Tibeto-Chinese Buddhist sculpture. Hallmarks such as the beak-like nose, conjoined brows, and finely incised hems reflect the legacy of the Nepalese ateliers, while the rounded face, long pendulous earlobes, and neatly curled hair already recall later Tibetan preferences. Elemental analysis confirms a high-zinc brass alloy of the type employed in the Imperial workshops of the Yongle and Xuande periods. This undoubtedly links the present figure either to production in Beijing for Tibetan patrons, or to a Tibetan commission executed under supervision and cooperation with the Imperial court workshops in Beijing.

Compare a closely related Tibetan brass figure of Buddha Shakyamuni, dated to the 13th century and measuring 49.8 cm in height, preserved in the Jokhang Temple, Lhasa, and illustrated by Ulrich von Schroeder, Buddhist Sculptures in Tibet, vol. II: Tibetan & Chinese, pp. 1188–1189, pl. 321F. Brass figures of this very group are also recorded in the Imperial Palace Museum, Beijing, where they are regarded by some scholars as prototypes for the Imperial workshops active during the Yongle and Xuande reigns.

Seated in dhyanasana on a separately and meticulously cast double-lotus base with a beaded rim, the right hand lowered in bhumisparsha mudra and the left held above the lap in dhyana mudra, the palms of the hands and soles of the feet are incised with lotus blossoms within circular medallions. He is clad in loosely draped monastic robes with minutely incised foliate hems.

The serene face, with heavy-lidded downcast eyes beneath arched brows and centered by an urna, is gently smiling with softly pursed lips, flanked by angular pendulous earlobes. The hair is arranged in precisely modeled, tightly coiled snail-shell curls over the high ushnisha, surmounted by a bud-shaped jewel. The underside is sealed with a copper plate finely engraved with a double vajra, while the base of the lotus pedestal is richly incised with a large flower head, each petal enclosing one of the Eight Buddhist Emblems (bajixiang).

Provenance: Peter Kienzle-Hardt (b. 1946), Radevormwald, Germany. Acquired during extensive travels in Asia, the first of which occurred during a formative world tour in 1973. Throughout his storied career, Peter Kienzle-Hardt organized countless exhibitions and participated in major international art fairs. He made many important contacts during this time and eventually met the Kienzle siblings, who shared his passion for Asian art and culture. A strong bond and deep friendship developed, ultimately leading to the creation of the Museum für Asiatische Kunst decades later in 2014. While the museum’s permanent exhibition predominantly comprised pieces from the Kienzle Family Collection, Peter Kienzle-Hardt supplemented it with objects from his own private collection. Before his death in 2019, Horst Kienzle bequeathed his entire property to Peter and legally adopted him as his son, who has been using the name Peter Kienzle-Hardt ever since.
Condition: Very good condition, with expected old wear and casting irregularities, rubbing and losses to the silvering, remnants of ancient polychromies, traces of weathering, and encrustations. With a few scattered minute dents and light surface scratches, mostly to the back. The three tangs to the underside of the figure have been removed to allow it to fit onto the base, and the cut areas remain clearly visible. The base is associated and dates to an earlier period, namely the 13th–14th century. Both seal plates are possibly of later date.

Metallurgy:
Elemental analysis reveals a brass alloy composed predominantly of copper (82.5%), zinc (16.8%), and tin (0.6%), consistent with alloys used in high-quality Tibeto-Chinese Buddhist metalwork from the early 15th century (Yongle–Xuande periods) and later. Trace amounts of selenium, present within zinc sulfide inclusions, indicate the use of naturally occurring, unrefined zinc ores. The surface shows evidence of tin enrichment, possibly due to intentional plating or surface segregation during casting, serving both protective and aesthetic purposes. Additionally, remnants of silver, likely applied through a mercury amalgam technique, are present. In this process, silver is dissolved in mercury and brushed onto the surface; upon heating, the mercury volatilizes, leaving behind a thin, lustrous silver layer. While fire-gilding was more common, fire-silvering of this kind is also documented, particularly in high-status ritual sculpture, and examples are known from both Nepalese and Tibetan-Chinese workshops.
Corrosion appears natural, atmospheric in origin, and relatively undeveloped, indicating favorable preservation conditions and minimal post-depositional alteration. The alloy composition aligns in part with the traditional ashtadhatu (eight-metal) formulation associated with Tibetan-Nepalese Buddhist art. Of the eight canonical metals—copper, zinc, tin, silver, mercury, gold, lead, and iron—five have been positively identified. Gold, often present only in minute quantities, may have worn away entirely over time. The technical sophistication evident in the alloy composition and layered surface treatments reflects the high standards of Buddhist workshops active in the Tibeto-Chinese sphere during the 15th century.

Weight: 23.9 kg (the figure) and 8.4 kg (the base)
Dimensions: Height 66.7 cm (incl. base)

This iconographic form of Shakyamuni Buddha, in which the historical Buddha is presented in the earth-touching gesture (bhumisparsha mudra), recalls an episode from his spiritual biography in which he triumphs over Mara (maravijaya) just prior to his enlightenment. Having vowed to remain in meditation until he penetrated the mysteries of existence, Shakyamuni was visited by Mara, a demon associated with the veils and distractions of mundane existence. The Buddha remained unmoved by the diversions with which Mara sought to deflect him from his goal. According to some traditional accounts, Mara’s final assault consisted of an attempt to undermine Shakyamuni's sense of worthiness by questioning his entitlement to seek the lofty goal of spiritual enlightenment and the consequent freedom from rebirth.

Aided by spirits who reminded him of the countless compassionate efforts he had made on behalf of sentient beings throughout his numerous animal and human incarnations, Shakyamuni recognized that it was his destiny to be poised on the threshold of enlightenment. In response to Mara’s query Shakyamuni moved his right hand from the meditation position in his lap and touched the ground, stating, ‘the earth is my witness’. This act of unwavering resolve caused Mara and his army of demons and temptresses to disperse, leaving Shakyamuni to experience his great enlightenment. The thunderbolt sceptre (vajra) that appears on the underside of the lotus throne refers to the adamantine site (vajrasana) at Bodh Gaya, which is said to have been empowered to expedite his enlightenment.

Auction result comparison:
Type: Related
Auction: Sotheby’s New York, 15 March 2017, lot 212
Price: USD 432,500 or approx. EUR 491,000 converted and adjusted for inflation at the time of writing
Description: A large and rare bronze figure of Buddha Shakyamuni inlaid with silver and copper, Tibet, 13^th century
Expert remark: Compare the closely related modeling, manner of casting, and subject, with similar pose, robe, and base. Note the earlier dating.

Auction result comparison:
Type: Related
Auction: Christie’s New York, 19 March 2013, lot 342
Price: USD 303,750 or approx. EUR 361,500 converted and adjusted for inflation at the time of writing
Description: A large gilt bronze figure of Buddha, Tibet, 13^th/14^th century
Expert remark: Compare the closely related modeling, manner of casting, and subject, with similar pose, features, and expression. Note the related size (55.1 cm) and slightly earlier dating.

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