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Lot Essay
Emerging from the extraordinary sculptural tradition fostered by the imperial court of the Yongle Emperor, this finely cast gilt bronze figure of Manjushri exemplifies a particular subset of works distinguished by their smaller size, elegant proportions, and youthful, smiling expression. While often presumed to be the product of standardised moulds, figures such as this reveal subtle variations that underscore their individuality, despite their adherence to a codified visual language.
This Manjushri, together with closely related examples in the Rietberg Museum and other collections, represents a distinct subset of imperial bronzes produced using the lost wax technique. Though all conform to the refined aesthetic cultivated in the Yongle workshops, this casting displays notable individuality in its slightly attenuated torso and charmingly expressive face, setting it apart from the more standardised representations. Such variation is characteristic of Yongle-period figures, which, while uniform in concept, were executed with enough nuance to give each sculpture a unique personality.
Cast in luminous gilt copper alloy, the figure portrays Manjushri seated in vajrasana on a double lotus pedestal, with his left hand raised in vitarkamudra and supporting the stems of a lotus that rise to bear the prajnaparamita manuscript. His right hand raised high brandishing sword of wisdom. The figure bears the six marks of perfection: a long torso, slender limbs, high nose, elongated eyes, full cheeks, and a gentle, compassionate expression. Particularly striking is the lightness and verticality of the body, which subtly sways at the hips, imparting a gentle contrapposto. This sense of movement is echoed in the softly undulating scarf and the rhythmic folds of the dhoti.
The facial features are delicately modelled, with rounded cheeks, a softly curved hairline, and an unmistakably youthful smile. This feature is shared by another Manjushri and Shadakshari Lokeshvara in the Reitberg (Uhlig, On the Path to Enlightenment, 1995, nos. X and 53). All have particularly well-defined lotus petals by his left shoulder, a subtle variant shared by the three bronzes. This youthful expression, rarely seen in later or more formulaic examples, contributes to the figure’s approachable and compassionate demeanour. The elongated torso and slender waist further differentiate this work from the more robust forms typical of earlier Yuan or Tibetan styles, pointing instead to the unique refinements developed under Yongle’s patronage.
The six-character inscription on the front of the base, written in the Tibetan reading direction, states: Da Ming Yongle nian shi—“Bestowed in the Yongle era of the Great Ming.” This formula, seen on numerous imperial bronzes, affirms the figure’s intended role as a diplomatic gift, most likely to Tibetan hierarchs or monastic institutions. Yongle, following the precedent set by the Mongol Yuan emperors, actively cultivated patron-priest relationships with the Tibetan clergy. The production and gifting of portable bronze images such as this played a central role in that strategy. Characteristically the underside of the base is sealed with its original consecration plate, affixed with eight evenly spaced punch marks and remains of red cinnabar lacquer still evident, a feature consistent with Nepalese and Tibetan ritual practices.
This particular casting can be closely compared to other works of similar scale and iconography. A gilt bronze four-armed Manjushri in the Potala in Lhasa, also inscribed with a Yongle reign mark, shows similar treatment of the crown and torso (von Schroeder, Buddhist Sculptures in Tibet, Vol. II, 2001, p. 1273, no. 354C). Additional parallels may be drawn with an 18.7 cm. Manjushri sold at Christie’s New York, 21 March 2001, lot 86 and an 18.4 cm. Vajrasattva formerly in the Speelman Collection (Sotheby’s Hong Kong, 7 October 2006, lot 801), both of which share the same attenuated torso, slender limbs, and delicately modelled facial features. The latter, while displaying a more tightly wrapped dhoti, exhibits the same dynamic softness in the expression and bodily proportions. Another Manjushri of similar scale (17.6 cm.), but of more squat proportions from the Claude de Marteau Collection sold at Bonhams, Hong Kong, 6 October 2023, lot 8.
Other closely related figures include an 18 cm. Vajrasattva from the Berti Aschmann Collection (Uhlig, On the Path to Enlightenment, 1995, no. 22), and an elegant four-armed Manjushri in the British Museum (1953,0713.4), formerly exhibited in Ming: 50 Years That Changed China. For additional comparisons, see examples in The Metropolitan Museum of Art (2001.59), Sotheby’s New York, 20 September 2000, lot 57, and Christie’s Hong Kong, 26 November 2014, lot 3106.
In both style and spirit, this Manjushri captures the refined court aesthetics and spiritual ambitions of the Yongle Emperor’s vision. Its rare combination of technical excellence, subtle expressiveness, and exceptionally preserved gilding ranks it among the most distinguished examples of 15th-century Chinese Buddhist sculpture.
This Manjushri, together with closely related examples in the Rietberg Museum and other collections, represents a distinct subset of imperial bronzes produced using the lost wax technique. Though all conform to the refined aesthetic cultivated in the Yongle workshops, this casting displays notable individuality in its slightly attenuated torso and charmingly expressive face, setting it apart from the more standardised representations. Such variation is characteristic of Yongle-period figures, which, while uniform in concept, were executed with enough nuance to give each sculpture a unique personality.
Cast in luminous gilt copper alloy, the figure portrays Manjushri seated in vajrasana on a double lotus pedestal, with his left hand raised in vitarkamudra and supporting the stems of a lotus that rise to bear the prajnaparamita manuscript. His right hand raised high brandishing sword of wisdom. The figure bears the six marks of perfection: a long torso, slender limbs, high nose, elongated eyes, full cheeks, and a gentle, compassionate expression. Particularly striking is the lightness and verticality of the body, which subtly sways at the hips, imparting a gentle contrapposto. This sense of movement is echoed in the softly undulating scarf and the rhythmic folds of the dhoti.
The facial features are delicately modelled, with rounded cheeks, a softly curved hairline, and an unmistakably youthful smile. This feature is shared by another Manjushri and Shadakshari Lokeshvara in the Reitberg (Uhlig, On the Path to Enlightenment, 1995, nos. X and 53). All have particularly well-defined lotus petals by his left shoulder, a subtle variant shared by the three bronzes. This youthful expression, rarely seen in later or more formulaic examples, contributes to the figure’s approachable and compassionate demeanour. The elongated torso and slender waist further differentiate this work from the more robust forms typical of earlier Yuan or Tibetan styles, pointing instead to the unique refinements developed under Yongle’s patronage.
The six-character inscription on the front of the base, written in the Tibetan reading direction, states: Da Ming Yongle nian shi—“Bestowed in the Yongle era of the Great Ming.” This formula, seen on numerous imperial bronzes, affirms the figure’s intended role as a diplomatic gift, most likely to Tibetan hierarchs or monastic institutions. Yongle, following the precedent set by the Mongol Yuan emperors, actively cultivated patron-priest relationships with the Tibetan clergy. The production and gifting of portable bronze images such as this played a central role in that strategy. Characteristically the underside of the base is sealed with its original consecration plate, affixed with eight evenly spaced punch marks and remains of red cinnabar lacquer still evident, a feature consistent with Nepalese and Tibetan ritual practices.
This particular casting can be closely compared to other works of similar scale and iconography. A gilt bronze four-armed Manjushri in the Potala in Lhasa, also inscribed with a Yongle reign mark, shows similar treatment of the crown and torso (von Schroeder, Buddhist Sculptures in Tibet, Vol. II, 2001, p. 1273, no. 354C). Additional parallels may be drawn with an 18.7 cm. Manjushri sold at Christie’s New York, 21 March 2001, lot 86 and an 18.4 cm. Vajrasattva formerly in the Speelman Collection (Sotheby’s Hong Kong, 7 October 2006, lot 801), both of which share the same attenuated torso, slender limbs, and delicately modelled facial features. The latter, while displaying a more tightly wrapped dhoti, exhibits the same dynamic softness in the expression and bodily proportions. Another Manjushri of similar scale (17.6 cm.), but of more squat proportions from the Claude de Marteau Collection sold at Bonhams, Hong Kong, 6 October 2023, lot 8.
Other closely related figures include an 18 cm. Vajrasattva from the Berti Aschmann Collection (Uhlig, On the Path to Enlightenment, 1995, no. 22), and an elegant four-armed Manjushri in the British Museum (1953,0713.4), formerly exhibited in Ming: 50 Years That Changed China. For additional comparisons, see examples in The Metropolitan Museum of Art (2001.59), Sotheby’s New York, 20 September 2000, lot 57, and Christie’s Hong Kong, 26 November 2014, lot 3106.
In both style and spirit, this Manjushri captures the refined court aesthetics and spiritual ambitions of the Yongle Emperor’s vision. Its rare combination of technical excellence, subtle expressiveness, and exceptionally preserved gilding ranks it among the most distinguished examples of 15th-century Chinese Buddhist sculpture.