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拍品專文
A monumental fifteenth-century Ming gilt-bronze image of a Karmapa lineage master, identified by a chiselled inscription as the “Great Precious Dharma King”, this exceptional sculpture occupies a distinguished place among the very few surviving large-scale Sino-Tibetan bronzes of the Ming period. Cast on a monumental scale, it demonstrates a masterful command of bronze casting techniques, with a richly gilded surface that would originally have radiated with a luminous, almost transcendent brilliance.
Its rare combination of imposing scale, technical virtuosity, and explicit epigraphic identification reflects both imperial ambition and the complex spiritual diplomacy that characterized Sino-Tibetan relations under the Ming imperial court.
Very few casted bronzes of such monumental scale have survived. By way of comparison, one may cite a pair of very large gilt-bronze Luohan figures dating to the Yuan–Ming period formerly sold at Christie’s Hong Kong on 30 March 2022, lot 2891 for HKD 24,450,000 and are now preserved in the Cleveland Museum of Art (accession no. 4.2023). Although impressive, these sculptures are markedly smaller—measuring 85 cm. and 87.5 cm. in height—and far less elaborately ornamented than the present example, which reaches 125.5 cm. The sheer scale of the current bronze is therefore truly exceptional.
The title “Great Precious Dharma King,” bestowed upon leading hierarchs of Tibetan Buddhism, signals the elevated status of the figure represented and underscores the close ties between the Ming emperors and the Karmapa lineage. Such works were not merely devotional objects, but also potent symbols of religious patronage and political legitimacy, embodying the mutual exchange of authority and prestige between the Chinese imperial court and Tibetan religious leaders. In this context, the sculpture can be understood as both a sacred image and a diplomatic artifact, participating in a broader network of cultural and religious dialogue across the Himalayan region and the Chinese empire.
The Karmapa is depicted seated in vajrasana, with his right hand displaying the bhumisparsa mudra, or “earth-touching” gesture. This gesture alludes to the pivotal moment in which the Buddha calls upon the earth to bear witness to the truth of his awakening, marking his triumph over Mara, the embodiment of desire and distraction, who sought to obstruct his enlightenment. This iconographic formulation is among the most prevalent in Buddhist art, as it encapsulates the climactic instant of the Buddha’s victory over his final impediment to spiritual liberation. The gesture thus functions
His face, almost as though it were captured in a master’s portrait, is striking in its quiet intensity, suffused with a profound, meditative serenity and a contemplative stillness that seems to suspend time itself. There is in his expression a depth that invites reflection, as if it concealed an inner world shaped by thought and silence. His bearing, composed and assured, lends him an air of natural authority, one that does not demand attention, yet effortlessly commands respect. It is the kind of presence that speaks without words, at once restrained and deeply compelling.
Particularly noteworthy is the treatment of the monastic robe, whose elaborate surface decoration including Buddhist emblems and rhythmic modelling evoke the visual qualities of this type of luxurious textiles reserved for the highest Buddhist figures close to the imperial court. This synthesis of Tibetan iconographic conventions with elements of Chinese stylistic refinement, especially in the rendering of drapery and surface pattern, is characteristic of works produced within a transregional artistic context, often linked to imperial patronage or to circles operating in close proximity to the Ming court. Such hybridization reflects the complex cultural and political exchanges that shaped Buddhist artistic production across the Sino-Tibetan sphere during the fifteenth century.
The sculpture’s distinguished European provenance further enriches its historical narrative. Having passed through notable diplomatic and aristocratic collections, it reflects the enduring fascination with Asian art among Western collectors from the nineteenth century onward. Such provenance not only enhances the work’s desirability but also situates it within the broader history of collecting, taste, and cross-cultural encounter.
It is closely linked to Count Damien de Martel (1876-1940), a French diplomat who served in numerous countries throughout his distinguished career. From 1913 to 1918, he served as First Secretary at the French Legation in Peking. He was subsequently assigned to Siberia, the Caucasus, and the Crimea, and later served in Constantinople and Petrograd, where he undertook several successive postings. In January 1925, he and his wife Marguerite returned to Peking, this time as Envoy Extraordinary and Minister Plenipotentiary, a position he held until 1929, when he was appointed Ambassador of France to Japan. He later continued his career in Syria and subsequently in Lebanon. In 1938, towards the end of his career, de Martel commissioned the American architect Barry Dierks (1899-1960), a prominent figure of Riviera modernism, to design a villa on Cap d’Antibes conceived explicitly to house and display this exceptional bronze. Dierks, whose clientele included members of the European aristocracy and international elite, developed an architectural programme in which the sculpture occupied a central and structuring role. The villa was organized along a strict east-west axis, a spatial dispositif that both framed and monumentalized the sculpture. Two aligned arched openings established a continuous visual corridor, extending from the point of entry toward the maritime horizon, offering views across the Bay of Cannes and the Îles de Lérins. Within this carefully orchestrated setting, the bronze served as both focal point and axial anchor, mediating between interior and exterior, architecture and landscape. Positioned along this axis at the western edge of the garden, facing back toward the house (fig. 6), the sculpture, safeguarded like a treasure within its niche, acquired a heightened sense of presence and significance.
After the death of Damian de Martel, the villa, along with the bronze was bought by Mr Charles Ferdinand Joseph Marie Gordinne who later is believed to have sold the property in 1962 to Nancy Phyllis Louise Astor (1909-1975). She was the daughter of the renowned Nancy Witcher Langhorne Astor, Viscountess Astor (1879-1964), the first woman to take her seat in the British House of Commons. Heir to a remarkable legacy of political stature and high society, Nancy Phyllis Astor carried forward a family tradition in which influence, intellect, and social life intertwined, shaping the villa into a refined salon where culture, society, and quiet power converged.
Since the 19th century, the British elite has been drawn to the Côte d’Azur and by the 1960s, the French Riviera had become a major destination for the British aristocracy, blending long-standing traditions with modern transformations. While nobles continued to enjoy prestigious hotels, private villas, and exclusive social circles, their lifestyle began to evolve increasingly socializing with artists, film stars, and wealthy entrepreneurs, gradually blurring the boundaries of traditional elite society. The villa was later acquired by successive private families who preserved both estate and its treasure until their transmission to the present day. In both its original conception and its later European context, the present bronze exemplifies the enduring power of Buddhist imagery as an object of devotion, prestige, and aesthetic contemplation. Its exceptional scale, refined workmanship, and distinguished provenance render it a work of the highest importance within the field of Himalayan and Sino-Tibetan art.
Its rare combination of imposing scale, technical virtuosity, and explicit epigraphic identification reflects both imperial ambition and the complex spiritual diplomacy that characterized Sino-Tibetan relations under the Ming imperial court.
Very few casted bronzes of such monumental scale have survived. By way of comparison, one may cite a pair of very large gilt-bronze Luohan figures dating to the Yuan–Ming period formerly sold at Christie’s Hong Kong on 30 March 2022, lot 2891 for HKD 24,450,000 and are now preserved in the Cleveland Museum of Art (accession no. 4.2023). Although impressive, these sculptures are markedly smaller—measuring 85 cm. and 87.5 cm. in height—and far less elaborately ornamented than the present example, which reaches 125.5 cm. The sheer scale of the current bronze is therefore truly exceptional.
The title “Great Precious Dharma King,” bestowed upon leading hierarchs of Tibetan Buddhism, signals the elevated status of the figure represented and underscores the close ties between the Ming emperors and the Karmapa lineage. Such works were not merely devotional objects, but also potent symbols of religious patronage and political legitimacy, embodying the mutual exchange of authority and prestige between the Chinese imperial court and Tibetan religious leaders. In this context, the sculpture can be understood as both a sacred image and a diplomatic artifact, participating in a broader network of cultural and religious dialogue across the Himalayan region and the Chinese empire.
The Karmapa is depicted seated in vajrasana, with his right hand displaying the bhumisparsa mudra, or “earth-touching” gesture. This gesture alludes to the pivotal moment in which the Buddha calls upon the earth to bear witness to the truth of his awakening, marking his triumph over Mara, the embodiment of desire and distraction, who sought to obstruct his enlightenment. This iconographic formulation is among the most prevalent in Buddhist art, as it encapsulates the climactic instant of the Buddha’s victory over his final impediment to spiritual liberation. The gesture thus functions
His face, almost as though it were captured in a master’s portrait, is striking in its quiet intensity, suffused with a profound, meditative serenity and a contemplative stillness that seems to suspend time itself. There is in his expression a depth that invites reflection, as if it concealed an inner world shaped by thought and silence. His bearing, composed and assured, lends him an air of natural authority, one that does not demand attention, yet effortlessly commands respect. It is the kind of presence that speaks without words, at once restrained and deeply compelling.
Particularly noteworthy is the treatment of the monastic robe, whose elaborate surface decoration including Buddhist emblems and rhythmic modelling evoke the visual qualities of this type of luxurious textiles reserved for the highest Buddhist figures close to the imperial court. This synthesis of Tibetan iconographic conventions with elements of Chinese stylistic refinement, especially in the rendering of drapery and surface pattern, is characteristic of works produced within a transregional artistic context, often linked to imperial patronage or to circles operating in close proximity to the Ming court. Such hybridization reflects the complex cultural and political exchanges that shaped Buddhist artistic production across the Sino-Tibetan sphere during the fifteenth century.
The sculpture’s distinguished European provenance further enriches its historical narrative. Having passed through notable diplomatic and aristocratic collections, it reflects the enduring fascination with Asian art among Western collectors from the nineteenth century onward. Such provenance not only enhances the work’s desirability but also situates it within the broader history of collecting, taste, and cross-cultural encounter.
It is closely linked to Count Damien de Martel (1876-1940), a French diplomat who served in numerous countries throughout his distinguished career. From 1913 to 1918, he served as First Secretary at the French Legation in Peking. He was subsequently assigned to Siberia, the Caucasus, and the Crimea, and later served in Constantinople and Petrograd, where he undertook several successive postings. In January 1925, he and his wife Marguerite returned to Peking, this time as Envoy Extraordinary and Minister Plenipotentiary, a position he held until 1929, when he was appointed Ambassador of France to Japan. He later continued his career in Syria and subsequently in Lebanon. In 1938, towards the end of his career, de Martel commissioned the American architect Barry Dierks (1899-1960), a prominent figure of Riviera modernism, to design a villa on Cap d’Antibes conceived explicitly to house and display this exceptional bronze. Dierks, whose clientele included members of the European aristocracy and international elite, developed an architectural programme in which the sculpture occupied a central and structuring role. The villa was organized along a strict east-west axis, a spatial dispositif that both framed and monumentalized the sculpture. Two aligned arched openings established a continuous visual corridor, extending from the point of entry toward the maritime horizon, offering views across the Bay of Cannes and the Îles de Lérins. Within this carefully orchestrated setting, the bronze served as both focal point and axial anchor, mediating between interior and exterior, architecture and landscape. Positioned along this axis at the western edge of the garden, facing back toward the house (fig. 6), the sculpture, safeguarded like a treasure within its niche, acquired a heightened sense of presence and significance.
After the death of Damian de Martel, the villa, along with the bronze was bought by Mr Charles Ferdinand Joseph Marie Gordinne who later is believed to have sold the property in 1962 to Nancy Phyllis Louise Astor (1909-1975). She was the daughter of the renowned Nancy Witcher Langhorne Astor, Viscountess Astor (1879-1964), the first woman to take her seat in the British House of Commons. Heir to a remarkable legacy of political stature and high society, Nancy Phyllis Astor carried forward a family tradition in which influence, intellect, and social life intertwined, shaping the villa into a refined salon where culture, society, and quiet power converged.
Since the 19th century, the British elite has been drawn to the Côte d’Azur and by the 1960s, the French Riviera had become a major destination for the British aristocracy, blending long-standing traditions with modern transformations. While nobles continued to enjoy prestigious hotels, private villas, and exclusive social circles, their lifestyle began to evolve increasingly socializing with artists, film stars, and wealthy entrepreneurs, gradually blurring the boundaries of traditional elite society. The villa was later acquired by successive private families who preserved both estate and its treasure until their transmission to the present day. In both its original conception and its later European context, the present bronze exemplifies the enduring power of Buddhist imagery as an object of devotion, prestige, and aesthetic contemplation. Its exceptional scale, refined workmanship, and distinguished provenance render it a work of the highest importance within the field of Himalayan and Sino-Tibetan art.