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Lot Essay
A Large Gilt-Bronze Figure of a Seated Buddha
Robert D. Mowry 毛瑞
Alan J. Dworsky Curator of Chinese Art Emeritus,
Harvard Art Museums, and
Senior Consultant, Christie’s
Presented in the guise of a monk, this mid- to late Ming sculpture represents a Buddha 佛像 as indicated by the monastic robes, ushnisha, benevolent countenance, short snail-shell curls of hair, distended earlobes, and webbed fingers. The ushnisha 佛頂, or cranial protuberance atop the head, symbolizes the expanded wisdom that the Buddha gained at his enlightenment 菩提; it serves as the Buddha’s diagnostic iconographic feature as only Buddhas possess an ushnisha. The gilded surfaces not only make the sculpture appropriate for representing a deity but symbolize the light that, according to the sacred texts, or sutras 佛經, radiates from his body. The Buddha sits on a lotus base in the form of a blossom rising from a lotus pond enclosed by a balustrade.
“Buddha” 佛 means “the Enlightened One”, an individual who has attained enlightenment and entered into nirvana 涅槃. Mahayana Buddhism 大乘佛教, the sect most widely followed in China, posits the existence of numerous Buddhas, all of whom are considered deities. The Buddhas most frequently worshipped in China are Shakyamuni 釈迦牟尼佛 (the Historical Buddha), Amitabha 阿彌陀佛 (the Buddha of Infinite Light), and Bhaisajyaguru 藥師佛 (the Medicine Buddha). The various Buddhas are distinguished one from another either by the iconographic attribute they hold or by the mudra in which they hold their hands. (A ritual hand gesture, a mudra 手印 symbolizes a particular action, power, or attitude of a deity.)
As indicated by his mudra, this sculpture represents the Buddha Shakyamuni, the Historical Buddha, who is traditionally said to have lived from 563 BC to 483 BC. He holds his hands in the bhumisparsa-mudra 觸地印, or earth-touching gesture, symbolizing the moment of his enlightenment when he summoned the earth to witness this momentous achievement. In the bhumisparsa-mudra, Shakyamuni holds his left hand in the lap, palm up, and lowers his right hand over the right knee, palm facing inward. He is seated in vajrasana 金剛座, a cross-legged sitting position often termed padmasana 蓮華座 (the lotus position) or dhyanasana 禪座 (the meditation position) in English but known in Chinese Buddhism as vajrasana.
The sutras state that Buddhas bear the “Thirty-two Marks of a Great Man” 相好; most typically portrayed among those marks are the urna 光毫, or circular mark at the center of the forehead, the webbed fingers and toes, and the previously mentioned ushnisha. Often incorrectly termed a “third eye”, the urna, which is typically represented by a painted disk, an inset cabochon jewel, or a small circular protuberance (as seen on this sculpture), is the curl of white hair between the Buddha’s eyebrows from which issues a ray of light illuminating all worlds 眉間光.
Crafted in the mid- to late Ming period (1368–1644), this sculpture embodies a classical Chinese style that descends from that of the Tang (618–907) and Song (960–1279) dynasties in contrast to the Tibeto-Chinese style 藏漢佛教風格 favored by the Imperial Court from the early fifteenth century onward. Still idealized, the Buddha possesses the decided corporeality characteristic of Ming Buddhist sculptures. The full ovoid face, the large downcast eyes with heavy lids, the long outturned earlobes, the fleshy cheeks and chin with the small mouth slightly recessed, and the slender nose with sides that spring upward in continuous arcs to form the eyebrows indicate that this sculpture dates to the sixteenth or early seventeenth century, as do the figure’s long fingers and the robe’s elaborate floral borders.
Additional symbols came to be associated with images of the Buddha from Ming times onward, particularly the cudamani 髻珠 and the wan 卍 emblem. The cudamani, or “crown jewel”—the unembellished relief ellipse immediately below the ushnisha—had appeared on sculptures of the Buddha as early as the twelfth century but became a standard iconographic attribute of Buddhas beginning only in the Ming dynasty. Literally meaning “a jewel worn atop the head”, the cudamani is a symbol of excellence, denoting one who has made great achievements and has passed beyond life and death. Like the cudamani, the wan 卍 emblem soared to popularity in the Ming dynasty. Though typically inscribed on a Buddha’s chest, as on this sculpture, the wan symbol often also appears on the palms of his hands and on the soles of his feet. An ancient symbol, it emblemizes dedication of spirit, universal happiness, and infinity. Symbolizing Buddhist teachings, the dharmachakra 法輪, or “wheel of the law” appears on the soles of the Buddha’s feet.
A kindred large, late Ming, gilt-bronze sculpture representing Shakyamuni in bhumisparsa-mudra—one sculpture from a triad—sold at Christie’s Paris, 16 December 2022, lot 91. Two small, late Ming, gilt-bronze sculptures, closely related in style and representing Amitabha and Bhaisajyaguru, sold at Christie’s New York, 13 September 2019, lot 852. Also closely related are two late Ming sculptures of Amitabha formerly in the now-dispersed collection of the Chang Foundation Museum, Taipei, that sold at Sotheby’s New York, 10 September 2019, lots 306 and 313. A smaller but stylistically related Ming Buddha sold at Christie’s New York, 18 September 2025, lot 898. Another stylistically related late Ming gilt-bronze sculpture representing a seated Amitabha is in the collection of the National Palace Museum, Taipei.
Likely commissioned by a wealthy patron as a pious gift to a major temple, this majestic figure embodies the classical Chinese sculptural style as interpreted in the mid- to late Ming period, in contrast to the contemporaneous Tibeto-Chinese style that was popular in court circles. In excellent condition, with a distinguished provenance, and with a long, record of exhibition and publication, this Buddha is a rare and important masterpiece of Ming Buddhist sculpture.
Robert D. Mowry 毛瑞
Alan J. Dworsky Curator of Chinese Art Emeritus,
Harvard Art Museums, and
Senior Consultant, Christie’s
Presented in the guise of a monk, this mid- to late Ming sculpture represents a Buddha 佛像 as indicated by the monastic robes, ushnisha, benevolent countenance, short snail-shell curls of hair, distended earlobes, and webbed fingers. The ushnisha 佛頂, or cranial protuberance atop the head, symbolizes the expanded wisdom that the Buddha gained at his enlightenment 菩提; it serves as the Buddha’s diagnostic iconographic feature as only Buddhas possess an ushnisha. The gilded surfaces not only make the sculpture appropriate for representing a deity but symbolize the light that, according to the sacred texts, or sutras 佛經, radiates from his body. The Buddha sits on a lotus base in the form of a blossom rising from a lotus pond enclosed by a balustrade.
“Buddha” 佛 means “the Enlightened One”, an individual who has attained enlightenment and entered into nirvana 涅槃. Mahayana Buddhism 大乘佛教, the sect most widely followed in China, posits the existence of numerous Buddhas, all of whom are considered deities. The Buddhas most frequently worshipped in China are Shakyamuni 釈迦牟尼佛 (the Historical Buddha), Amitabha 阿彌陀佛 (the Buddha of Infinite Light), and Bhaisajyaguru 藥師佛 (the Medicine Buddha). The various Buddhas are distinguished one from another either by the iconographic attribute they hold or by the mudra in which they hold their hands. (A ritual hand gesture, a mudra 手印 symbolizes a particular action, power, or attitude of a deity.)
As indicated by his mudra, this sculpture represents the Buddha Shakyamuni, the Historical Buddha, who is traditionally said to have lived from 563 BC to 483 BC. He holds his hands in the bhumisparsa-mudra 觸地印, or earth-touching gesture, symbolizing the moment of his enlightenment when he summoned the earth to witness this momentous achievement. In the bhumisparsa-mudra, Shakyamuni holds his left hand in the lap, palm up, and lowers his right hand over the right knee, palm facing inward. He is seated in vajrasana 金剛座, a cross-legged sitting position often termed padmasana 蓮華座 (the lotus position) or dhyanasana 禪座 (the meditation position) in English but known in Chinese Buddhism as vajrasana.
The sutras state that Buddhas bear the “Thirty-two Marks of a Great Man” 相好; most typically portrayed among those marks are the urna 光毫, or circular mark at the center of the forehead, the webbed fingers and toes, and the previously mentioned ushnisha. Often incorrectly termed a “third eye”, the urna, which is typically represented by a painted disk, an inset cabochon jewel, or a small circular protuberance (as seen on this sculpture), is the curl of white hair between the Buddha’s eyebrows from which issues a ray of light illuminating all worlds 眉間光.
Crafted in the mid- to late Ming period (1368–1644), this sculpture embodies a classical Chinese style that descends from that of the Tang (618–907) and Song (960–1279) dynasties in contrast to the Tibeto-Chinese style 藏漢佛教風格 favored by the Imperial Court from the early fifteenth century onward. Still idealized, the Buddha possesses the decided corporeality characteristic of Ming Buddhist sculptures. The full ovoid face, the large downcast eyes with heavy lids, the long outturned earlobes, the fleshy cheeks and chin with the small mouth slightly recessed, and the slender nose with sides that spring upward in continuous arcs to form the eyebrows indicate that this sculpture dates to the sixteenth or early seventeenth century, as do the figure’s long fingers and the robe’s elaborate floral borders.
Additional symbols came to be associated with images of the Buddha from Ming times onward, particularly the cudamani 髻珠 and the wan 卍 emblem. The cudamani, or “crown jewel”—the unembellished relief ellipse immediately below the ushnisha—had appeared on sculptures of the Buddha as early as the twelfth century but became a standard iconographic attribute of Buddhas beginning only in the Ming dynasty. Literally meaning “a jewel worn atop the head”, the cudamani is a symbol of excellence, denoting one who has made great achievements and has passed beyond life and death. Like the cudamani, the wan 卍 emblem soared to popularity in the Ming dynasty. Though typically inscribed on a Buddha’s chest, as on this sculpture, the wan symbol often also appears on the palms of his hands and on the soles of his feet. An ancient symbol, it emblemizes dedication of spirit, universal happiness, and infinity. Symbolizing Buddhist teachings, the dharmachakra 法輪, or “wheel of the law” appears on the soles of the Buddha’s feet.
A kindred large, late Ming, gilt-bronze sculpture representing Shakyamuni in bhumisparsa-mudra—one sculpture from a triad—sold at Christie’s Paris, 16 December 2022, lot 91. Two small, late Ming, gilt-bronze sculptures, closely related in style and representing Amitabha and Bhaisajyaguru, sold at Christie’s New York, 13 September 2019, lot 852. Also closely related are two late Ming sculptures of Amitabha formerly in the now-dispersed collection of the Chang Foundation Museum, Taipei, that sold at Sotheby’s New York, 10 September 2019, lots 306 and 313. A smaller but stylistically related Ming Buddha sold at Christie’s New York, 18 September 2025, lot 898. Another stylistically related late Ming gilt-bronze sculpture representing a seated Amitabha is in the collection of the National Palace Museum, Taipei.
Likely commissioned by a wealthy patron as a pious gift to a major temple, this majestic figure embodies the classical Chinese sculptural style as interpreted in the mid- to late Ming period, in contrast to the contemporaneous Tibeto-Chinese style that was popular in court circles. In excellent condition, with a distinguished provenance, and with a long, record of exhibition and publication, this Buddha is a rare and important masterpiece of Ming Buddhist sculpture.