China, Ming Dynasty, Zhengtong period and dated 1442 (seventh year of Emperor Zhengtong).
Represented sitting in padmasana on a double lotiform base, hands in dhyana-mudra (meditation), dressed in a monastic robe partially uncovering the chest and leaving the right shoulder bare, curly hair covering the ushnisha, half-closed eyes, serene and smiling face, elongated earlobes, mark and date Da Ming Zhengtong Qi Nian Zao (made in the seventh year of Emperor Zhengtong) on top of the base.
Height: 29,5 cm - Weight: 2921 g
Origin: Brought back from China at the end of the 19th century and offered to the grandmother of the current owner.
Because of its dating, this bronze is an important document, testifying to the style of the early Ming period and the evolution of bronze statues during the 15th century.
A relatively large number of golden bronzes were produced during the reign of Emperor Yongle (1403-1424), due to the many offerings made to Tibetan religious leaders. These gifts declined sharply during the reign of Xuande (1425-1435) and this trend continued during the Zhengtong period (1435-1449).
The style used during the Yongle period lasted until the middle of the 15th century.
Thus, the pleating of the dress, and in particular the wide flat fold, barring the chest from the left shoulder, places this sculpture at the beginning of the Ming period with a strong influence from the Yongle and Xuande periods.
Likewise, the lotus petals of the base, continuous all around and worked at the ends, the square and wide face, the pronounced ushnisha dome, the elongated and often V-shaped pierced earlobes in the upper part, the deeply incised half-closed eyes with upper eyelids raised by a net, the arched and incised eyebrow arches are typical of early 15th century bronzes.
Our lot is similar to the Xuande-marked Buddha published in Buddhist Images in Gilt Metal, Chang Foundat