‘A new chapter in our legacy’——Edward Wilkinson on the Inaugural regional sale in Hong Kong
A veteran of the market in the Indian, Himalayan and Southeast Asian Art category, Edward Wilkinson explains the beauty of these remarkable objects that trace back to 1,800 years of Buddhist art, which will be showcased in the first dedicated live sale for this category in Christie’s Asia

Originally from Australia, Edward Wilkinson’s passion for Asian art stems from a family trip to north India as a teenager, setting the stage for a distinguished career that commenced at a Sydney auction house. Over the past 25 years, he has curated numerous important private collections and facilitated their successful sales in the global auction market.
Earlier in 2025, Wilkinson joined Christie’s as global head of Classical Indian, Himalayan and Southeast Asian Art, bringing with him a wealth of expertise and a profound understanding of the category and its market dynamics. As part of the global strategic initiative, he is expanding the global footprint of this category by introducing the first dedicated live auction in Hong Kong this autumn.
‘This truly represents a new chapter in our legacy, where we bring forth objects of exceptional quality and initiate transcultural dialogue in the Asia Pacific region.’ Says Wilkinson. His vision reflects Christie’s commitment to fostering a deeper appreciation for the rich artistic traditions of these regions while engaging a diverse audience of collectors and connoisseurs.

Edward Wilkinson, Global Head of Indian, Himalayan and Southeast Asian Art at Christie’s
The forthcoming auction presents an exceptional array of 40 works spanning over 1,800 years of Buddhist art, from the ancient region of Gandara through to Thailand. Wilkinson specifically highlights a remarkable, and newly re-attributed figure of Avalokiteshvara, a thangka attributed to the celebrated artist The Tenth Karmapa, Choying Dorje, as well as an impressive gilt copper alloy figure of Manjushri.
An imperial gilt copper alloy figure of Avalokiteshvara, Yuan dynasty, late 13th / early 14th century. 12 ¼ in (31 cm) high (15 ¼ in on parcel-gilt lacquered wood base). Estimate: HK$20,000,000 – 30,000,000. Offered in Indian, Himalayan and Southeast Asian Art sale on 3 November 2025 at Christie’s in Hong Kong
Within the vast artistic continuum of Indo-Himalayan and Chinese Buddhist sculpture, this figure of Avalokiteshvara stands as a singular masterpiece, embodying a harmonious synthesis of Pala, Newar, and Classical Chinese elements. Produced in the early 14th century, likely at Dadu (modern Beijing), the capital of the Yuan dynasty, this sculpture marks a defining moment in the evolution of Sino-Tibetan Buddhist art. Its remarkable stylistic fusion became the foundation for the next two centuries of Buddhist artistic production across the Asian plateau.
At the heart of this sculpture’s brilliance is the artist’s sensitive rendering of Avalokiteshvara’s youthful, semi-wrathful expression, imbued with both compassion and latent power. The plump cheeks, small mouth with well-defined lips, and finely inset urna relate directly to the Newar and Xi Xia aesthetic, distinguishing this face from earlier Tibetan and Pala precedents. The forelocks, neatly arranged in radiating curls, and the double-banded hair across the back of the head, display meticulous craftsmanship characteristic of Yuan court commissions.
‘In terms of provenance, scale, stylistic innovation, and state of preservation, this Avalokiteshvara is the finest imperial Yuan Buddhist sculpture to appear on the market. It offers not only a window into the religious and artistic life of the early 14th century, but also stands as a touchstone of pan-Asian artistic synthesis at the highest level.’ Says Wilkinson.
A gilt copper alloy figure of Manjushri, central Tibet, circa 12th century. 15 1/2 in (39.4 cm) high. Estimate: HK$16,000,000 – 20,000,000. Offered in Indian, Himalayan and Southeast Asian Art sale on 3 November 2025 at Christie’s in Hong Kong
This monumental sculpture of Manjushri, the bodhisattva of transcendent wisdom, represents a pinnacle of late 12th/early 13th century Himalayan sculpture, combining Northeast Indian Pala-derived iconography with distinct Newar stylistic refinement. Its artistic quality and scale reflect the importance of Manjushri in Tibetan Buddhist devotion, particularly within the Sakya school, and its close association with the historic Shalu Monastery, a major center of art and scholarship in Tsang, Southern Tibet.
The rarity of this Manjushri is manyfold, particularly the scale of the sculpture. ‘He’s exceptionally large and preserved in excellent condition. Very few sculptures of the larger scale have survived.’ Wilkinson emphasized that the detail of the casting and the generally good condition for a sculpture that’s close to 900 years old is remarkable. The metal underneath the gildings is exposed where the worshippers and attendants would touch on a daily basis, which is a ritual practice seen only in Nepal.
‘We've been able to find a standing bodhisattva that carries almost identical treatment to the jewelry, the textiles, the crown, and the facial type, and that figure is preserved in the Shalu Monastery in Southern Tibet, which was established in the early part of the 13th century.’ Wilkinson explained how the discovery had been helpful to date this sculpture.
This colossal image thus stands not only as a remarkable work of art, but also as a historical document of 12th century Tibetan artistic excellence. It captures the interplay of regional styles, the importance of trans-Himalayan artisan networks, and the central place of Manjushri in Tibetan culture, particularly in the Sakya monastic tradition.
A thangka of Shakyamuni's Parinirvana attributed to the tenth Karmapa, Choying Dorje. Distemper on silk. China, Yunnan province or eastern Tibet, late 17th century. 24 1/2 x 16 5/8 in (62.3 x 42.2 cm). Estimate: HK$8,000,000-12,000,000. Offered in Indian, Himalayan and Southeast Asian Art sale on 3 November 2025 at Christie’s in Hong Kong
New scholarship and rediscovered provenance details have significantly advanced our understanding of this remarkable painting, allowing for a more informed attribution to the Tenth Karmapa, Choying Dorje (1604–1674). Long admired for its stylistic uniqueness and enigmatic iconography, this Parinirvana thangka can now be more securely linked to Choying Dorje and his production of two sets of The Twelve Deeds of the Buddha series that he is recorded to have painted in 1653 and 1654. This painting, believed to be the only surviving example from the sets, shows the remarkable imagination of one of Tibet’s most innovative artists.
This painting of the Buddha’s Parinirvana (final nirvana) executed on silk, features the Buddha reclining on a richly decorated light green plinth, surrounded by grieving followers, with scenes of his cremation and the distribution of his relics illustrated in the upper parts of the composition. The Tenth Karmapa’s style is recognizable for its whimsical, almost naïve figural forms, long heads, fleshy faces, and tiny red lips, departing from conventional Tibetan aesthetics. The elaborate plinth beneath the Buddha, decorated with animals and offering figures, echoes ancient Kashmiri throne reliefs from the 7th–8th centuries.
This thangka is first documented to appear on the market in 1979 with original silk mountings that included kesi tapestry panels of cranes, a specific motif that Choying Dorje employed in his artistic vocabulary. Further, new scholarship by Karl Debreczeny, particularly his 2021 study, provides a rigorous comparative and iconographic framework that situates the painting firmly within the Karmapa’s creative milieu. Taken together, these developments support a confident attribution to the master himself, Choying Dorje, the Tenth Karmapa.
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As part of the upcoming Asian Art Week, Christie’s Hong Kong will hold the first dedicated live auction for Indian, Himalayan and Southeast Asian Art in Hong Kong on 3 November 2025, celebrating the rich and diverse artistic traditions of these regions, while preserving the artistic legacies that have shaped the identities of the rich cultures across Asia. A broader offering within the category will be held in Paris in December and then New York in 2026.