We found 1023 price guide item(s) matching your search

Khitan Buddha Statue. Provenance:Important Family Collection. Condition reports and additional photographs are provided by request as a courtesy to our clients as such any condition report is only an opinion and should not be treated as a statement of fact. H18.5cm W4.5cm Weight716.3g

11th century Dali Buddha Statue in Yunnan. Provenance:Important Family Collection. Condition reports and additional photographs are provided by request as a courtesy to our clients as such any condition report is only an opinion and should not be treated as a statement of fact. H41.5cm W30cm

18th Century Han Bronze Buddha Statue. Provenance:Important Family Collection. Condition reports and additional photographs are provided by request as a courtesy to our clients as such any condition report is only an opinion and should not be treated as a statement of fact. H49cm W24cm

16th Century Alloy Bronze Buddha Statue. Provenance:Important Family Collection. Condition reports and additional photographs are provided by request as a courtesy to our clients as such any condition report is only an opinion and should not be treated as a statement of fact. H18.5cm W11.5cm Weight740.2g

9th Century Pala Buddha Statue. Provenance:Important Family Collection. Condition reports and additional photographs are provided by request as a courtesy to our clients as such any condition report is only an opinion and should not be treated as a statement of fact. H32.5cm W19.5cm

Qianlong Bronze Thousand-hand Guanyin Buddha Statue. Provenance:Important Family Collection. Condition reports and additional photographs are provided by request as a courtesy to our clients as such any condition report is only an opinion and should not be treated as a statement of fact. H29.9cm W18.5cm Weight1391.2g

A 19th century Sino Tibetan bronze devotional statue of a seated Buddha raised on lotus plinth.

A LARGE AND RARE WOOD STATUE OF A GUARDIANJapan, 14th-16th century, Muromachi period (1336-1573)The masterfully carved and lacquered wood statue depicts a wrathful Buddhist guardian dressed in military robes with voluminous folds and standing tall, the hands held in dhyana mudra, above a rocky base. The neatly inlaid crystal eyes retain their original inside painting.HEIGHT 61 cm Condition: Excellent condition with some losses, old wear, age cracks, traces of use, minor touchups and flaking to lacquer, overall commensurate and as expected for a wood statue with an age of ca. 400 years.Provenance: From a Canadian private estate.The figure likely depicts Kubira, also known as Kompira or Konpira, the leader of the twelve heavenly generals or Juni Shinsho. They are the protective deities of Bhaisajyaguru, the Buddha of healing and medicine in Mahayana Buddhism. The Heavenly Generals, always shown with a fierce look and wearing armor, were often the subject of large wood sculptures during the Heian and Kamakura periods. In fact, five different sets of Heavenly Generals have been designated as National Treasures in Japan. In the group of figures at the Seikado Bunko and Tokyo National Museums, the uniqueness of each one of the figures has been praised, with varied postures, hairstyles, hand-held symbols and armor shapes.Auction comparison:Compare a related pair of guardian sculptures, dated to 13th-14th century Kamakura period (1185-1333), of larger size (88.9 cm), at Bonhams, Fine Japanese and Korean Art, 21 March 2018, New York, lot 2098 (sold for 81,250 USD). Compare also to a related figure of a guardian, dated to the Edo period and measuring 140 cm, sold at Bonhams, Fine Japanese Works of Art, 16 September 2009, New York, lot 3063 (sold for 9,760 USD).

18/19th century bronze Thai Enlightenment Buddha statue, seated with hand gesturing to the earth H19cm

Chinese bronze statue of the seated Buddha, traces of gilding, Qianling mark, 28cm high.

Composite garden statue modelled as a Buddha, height 30cm

Composite garden statue of a Buddha, height approx 30cm

Composite garden statue of Buddha, height approx 30cm

Composite garden statue of a Buddha, height approx 30cm

Composite garden statue of a Buddha, height approx 20cm

Composite garden statue modelled as Buddha, height 30cm

Tibetan Vasudeva Buddha statue, 20cm high.

SITTING BUDDHA GARDEN STATUE

LAYING BUDDHA GARDEN STATUE

TALL STANDING BUDDHA - GARDEN STATUE

TALL STANDING BUDDHA - GARDEN STATUE

THAI POINTED BUDDHA GARDEN STATUE

A cast stone statue of a seated Buddha, 34cm high, together with a figure of an elf (2)

2 boxes of Chinese and Japanese porcelain and earthenware, soapstone objects, carvings and bronze Buddha statue, 19th/20th C.

Bronze polychrome colored Tibetan Buddha statue, 20th century, 66 cm high

Bronze 2-piece Buddha statue Prajnaparamita, carried by birds, 20th century, 36 cm high

Box with stone Buddha, 31 cm high, wooden Asian decoration Happy Buddha, 15 cm high, 32 cm wide (ear of mouse manco) and alabaster statue of a lion, 17 cm high

Bronze Buddha statue, 20th century, 36 cm high

2 bronze temple lions, China 20th century, 13 cm high, 13 cm wide, plaster polychrome colored statue of a meditating monk, Asia 20th century, 26 cm high, rose quartz figurine of a lion, China 20th century, 6.5 cm high, jade Buddha pendant on a silver-plated chain, 20th century and 2 satsuma earthenware vases, Japan, early 20th century, 12 cm high

2 brass Asian ear vases with bird decor, 23 cm high, 2 lidded jars, 19 cm high and Buddha statue, 12.5 cm high, 20th century

Wooden statue of Buddha in a tailor's seat, China 20th century, 26 cm high

Large bronze statue of Buddha - Approx. height: 69cm

Tibetan Vasudeva Buddha statue, 20cm high.

STATUE DE BOUDDHA EN SCHISTEANCIENNE RÉGION DU GANDHARA, III/IVE SIÈCLE147.5 cm (58 1/8 in.) high Footnotes:A SCHIST FIGURE OF BUDDHAANCIENT REGION OF GANDHARA, 3RD/4TH CENTURY 犍陀羅 三/四世紀 片岩佛陀像 Published: Mario Bussagli, L'Arte del Gandhara, Torino, 1984, p. 100, no. 3. Provenance:With Claude de Marteau, Brussels, by 1970s Supporting numerous publications on the art of ancient Gandhara, Claude de Marteau was perhaps best known for his expertise in Gandharan sculpture. His connoisseurship is epitomized by this almost life-size statue of the Buddha, which excels for its naturalism, grace, and contemplative attitude. The ancient region of Gandhara, which spanned modern-day northwest Pakistan and southern Afghanistan, was home to a vibrant, cosmopolitan civilization situated at the crossroads of international trade networks linking South Asia, Central Asia, China, and the Mediterranean. Because of its verdant terrain and lucrative trade position, the region fell repeatedly to foreign raids and invaders. The Kushans, originally from Central Asia and already having incorporated elements of Greek culture, established themselves in Gandhara in the early first century CE. Under the Kushan ruler Kanishka (127-151 CE), Gandharan Buddhist art and architecture flourished, resulting in the creation of some of the earliest iconic images of the historical Buddha, such as the present statue. Indicative of Gandharan art's appealing multiculturalism, the stone carver who created the present image of the Buddha was clearly as well-versed in Buddhist iconography as he was in the Greco-Roman aesthetic tradition of naturalism. He succeeds in realistically modelling the figure's stance with a gentle, understated contrapposto, lightly bending the right knee and placing more weight on the left leg—imbuing movement within his creation. He effortlessly conveys the Buddha's supple physique, suggested under the sweeping pleats of his heavy monastic robe. To this, the sculptor has added certain physiological features, rooted in Indic religions, that distinguish an enlightened being (mahalakshana). A raised circular dot in the middle of his brow represents his urna, from which in many sutras, the Buddha emits a ray of light to illuminate distant worlds. Crisp, wavy locks are pulled over an ushnisha, a cranial protuberance endowed with a variety of magical powers. Another prominent symbol of his enlightened consciousness is the large halo backing his head and shoulders. But perhaps most profound is the arresting quietude evoked by his heart-shaped, mustachioed visage, whose heavy-lidded downward expression conveys a solemn detachment from the world. The present sculpture's torso and stance are portrayed with a higher degree of naturalism than a representative example in the British Museum (1947,0511.1). The soft treatment of the robes compares well with Gandharan sculptures of the Buddha held in the Norton Simon Museum, Pasadena (F.1975.04.2.S), and sold at Christie's, New York, 21 March 2008, lot 527. A Gandharan Buddha with a similar cordate facial type is in the Tokyo National Museum (C0097675). Depicting Maitreya, the Future Buddha, venerated in the pedestal below Shakyamuni's feet, the present sculpture belongs to an iconic trope in Gandharan art also represented by a Buddha in the Metropolitan Museum of Art, New York (2014.188), and reflected in examples sold at Christie's, New York, 25 March 2004, lot 18, and Bonhams, Hong Kong, 2 December 2021, lot 1036.For further information on this lot please visit Bonhams.com

STATUE DE BOUDDHA SHAKYAMUNI EN ALLIAGE DE CUIVRE DORÉKHASA MALLA, XIII/XIVE SIÈCLEHimalayan Art Resources item no. 4855 31.5 cm (12 3/8 in.) high Footnotes:A GILT COPPER ALLOY FIGURE OF SHAKYAMUNI BUDDHA KHASA MALLA, 13TH/14TH CENTURY 卡薩馬拉 十三/十四世紀 銅鎏金釋迦牟尼像Provenance:With Claude de Marteau, Brussels, by 1970s This grand image of the Buddha is one of only a handful of large bronzes attributed to the Khasa Malla kingdom, whose territory comprised parts of Western Nepal and Tibet between the 12th and 14th centuries. The juxtaposition of this Buddha's warm, quiet demeanor and his formidable, robust physique strikes an accomplished balance conveying benign yet supreme authority. Although the mysterious kingdom of the Khasa Mallas was known to Western scholars from epigraphical sources by the 1950s, it was Ian Alsop's pioneering research on a peculiar gilt-bronze female figure in the National Museum of Asian Art, Washington D.C. (1986.23M) that spurred awareness of the Khasa Mallas' visual culture (Alsop, 'The Metal Sculpture of the Khasa Malla Kingdom' in Singer & Denwood (eds.), Tibetan Art, Towards a Definition of Style, 1997, pp. 68-79). Subsequently, a growing number of objects have been assigned to their avid promotion of Buddhism, whose aesthetic was informed by prevalent styles circulating in neighboring kingdoms and the lands the Khasa Mallas controlled or raided. For example, numerous features of the present sculpture show clear borrowings from the Malla kingdom, centered in the Kathmandu Valley, including the thick beading running along the robe's 'rice-grain' hemline, the floral medallions tucked behind the Buddha's ears, his beaked nose, and the fishtail sash draped over his left shoulder. Compare these features with three Malla Buddha sculptures sold at Sotheby's, New York, 25 March 1999, lot 39; Sotheby's, New York, 1 April 2005, lot 52; and Christies, New York, 13 September 2017, lot 620. Chief among the diagnostic traits that can identify a work from the Khasa Malla kingdom is the representation of the joints of each finger, displayed in this Shakyamuni's right hand, lowered in the gesture of 'calling the Earth to witness' (bhumisparsha mudra). The 'rice-grain' pattern, an inlaid turquoise urna in the shape of a teardrop, and the manner in which his eyebrows terminate at the nasal bridge are other features found among Khasa Malla sculptures. All are shared by a Buddha of similar scale in the Rubin Museum of Art (C2006.24.1), and two other large Khasa Malla Buddhas sold at Bonhams, Hong Kong, 2 December 2020, lot 1010, and Bonhams, New York, 19 March 2018, lot 3019.For further information on this lot please visit Bonhams.com

STATUE DE VAJRASATTVA EN ALLIAGE DE CUIVRETIBET OCCIDENTAL, XIII/XIVE SIÈCLEHimalayan Art Resources item no. 4860 23.2 cm (9 1/8 in.) high Footnotes:A COPPER ALLOY FIGURE OF VAJRASATTVA WEST TIBET, 13TH/14TH CENTURY 藏西 十三/十四世紀 金剛薩埵銅像Provenance:With Claude de Marteau, Brussels, by 1970sThe bronze depicts Vajrasattva with his most popular iconography, seated while holding a vajra before his chest and a bell by his left hip. As the Primordial Buddha, Vajrasattva represents the essence of the Buddhahood and is frequently invoked for a rite of purification before undertaking most Tibetan Buddhist tantric instruction. The broad, flat shape of the lotus petals around the base, and the way in which the scarf framing the figure is cast with supporting rods, indicates this image was cast in West Tibet within the 13th or 14th century. For comparison, see a Ratnasambhava in the Zimmerman Collection, published in von Schroeder, Indo-Tibetan Bronzes, 1981, p. 180, no. 34A, and a standing Avalokiteshvara with similarly prominent fanning crown ribbons behind the temples in the Museum of Fine Arts, Boston (2003.339).For further information on this lot please visit Bonhams.com

STATUE DE VAJRADHARA EN LAITON INCRUSTÉ D'ARGENTTSANG, TIBET CENTRAL, XVE SIÈCLEHimalayan Art Resources item no. 4840 24 cm (9 1/2 in.) high Footnotes:A SILVER-INLAID BRASS FIGURE OF VAJRADHARA TSANG, CENTRAL TIBET, 15TH CENTURY 藏中 十五世紀 銅錯銀金剛總持像 Provenance:With Claude de Marteau, Brussels, by 1970s The primordial Buddha, Vajradhara, crosses a vajra and bell before his chest (vajrahumkara mudra), symbolizing the perfected union of wisdom and compassion that is Buddha-consciousness, and into which the human ego can blissfully evaporate. His sublime body is clad in a lower garment with patterned floral hems, and a scarf that drapes over his shoulders before sweeping around the elbows and falling to his sides. His crown consists of five tall leaves, representing each of the Five Presiding Buddhas. The sculpture is a superior example of the non-gilded, brassy, and frequently inlaid style favored in Tsang province of Central Tibet. This alloy can be brought to a high polish, achieving an attractive buttery patina, as seen on the figure's back. Vajradhara's squarish countenance and accentuated smile are also characteristic of Tsang style. A 15th-century date is supported by the particular rippling of the lower garment around the shins, and the long, densely packed lotus petals around the base, which Tibetan craftsmen adopted from imperial Chinese Buddhist bronzes that were sent to powerful Tsang monasteries by the Yongle emperor (1403-24). Similar Tsang bronzes of Vajradhara are kept in the Johkang, Lhasa; the Rubin Museum of Art, New York (C.2005.37.1); and a private collection (see von Schroeder, Buddhist Sculptures in Tibet, Vol. II, 2001, p. 1193, no. 323B; HAR 90823; and HAR 30586, respectively).For further information on this lot please visit Bonhams.com

STATUE DE RATNASAMBHAVA EN ALLIAGE DE CUIVRE DORÉTIBET, XIV/XVE SIÈCLEHimalayan Art Resources item no. 4851 19 cm (7 1/2 in.) high Footnotes:A GILT COPPER ALLOY FIGURE OF RATNASAMBHAVA TIBET, 14TH/15TH CENTURY西藏 十四/十五世紀 銅鎏金寶生佛像Provenance: With Claude de Marteau, Brussels, by 1970s Ratnasambhava, the 'jewel-born', is one of the Five Presiding Buddhas. Within a mandala, he occupies the southern quadrant, represented by the color yellow, and presides over the jewel family of buddhas and bodhisattvas. As a solitary image, he can be identified by his outstretched palm, which imparts the gesture of wish-granting (varada-mudra). Compare Ratnasambhava's broad, upper torso with another Buddha sold at Bonhams, New York, 14 March 2016, lot 27. Moreover, compare the rounded, multi-layered design of the lotus petals with an Amitayus sold at Bonhams, New York, 14 September 2015, lot 20.For further information on this lot please visit Bonhams.com

STATUE DE LOKESHVARA PADMAPANI EN ALLIAGE DE CUIVRE DORÉDENSATIL, TIBET CENTRAL, XIVE SIÈCLEHimalayan Art Resources item no. 4836 26.1 cm (10 1/4 in.) high Footnotes:A GILT COPPER ALLOY FIGURE OF LOKESHVARA PADMAPANI DENSATIL, CENTRAL TIBET, 14TH CENTURY 丹薩替 藏中 十四世紀 銅鎏金蓮華手觀音像 Provenance: With Claude de Marteau, Brussels, by 1975 Depicting the bodhisattva Avalokiteshvara holding a lotus, this sculpture's refined modelling, thick gilding, and meticulous inset jewelry exemplifies work executed for wealthy Tibetan monasteries by Newari master craftsmen. While several stylistic features relate to contemporaneous figures produced for worship in Nepal, such as the bodhisattva's broad Malla-style forehead, the near-pristine preservation of the sculpture indicates it was venerated in Tibet. In fact, the specific treatment of the base, with its flat back, beaded rims, and tall plump lotus petals is a quintessential feature of sculptures produced by Newari artisans for Densatil and neighboring monuments during the last quarter of the 14th century. From the late-13th to 15th century, the early Kagyu order known as the Phagmo Drupa established Densatil as their monastic seat of power and commissioned eight lavishly decorated monumental stupas, known as tashi gomang ('many doors of auspiciousness') in the monastery's main hall. These multi-tiered structures represented one of Tibet's great artistic wonders and were covered in gilt bronze sculptures and relief panels.The present sculpture's subject and scale, along with the finishing of its back, suggest it was initially created for the fourth tier of one such tashi gomang stupa, where it would have been paired with a seated attendant figure of Hayagriva (Estournel, www.asianart.com/articles/densatil/, figs. 27 & 28). The sculpture would have almost certainly flanked a Buddha image, but it is also possible that it stood by a Buddha image on an altar, either at Densatil or at neighboring Neudong or Tsetang. Helping to locate the sculpture to the 14th century, stylistic traits such as the long tresses, upswept armbands, and jewelry with uniformly circular inset stones are shared by a group of sculptures produced by Newari artists for the Yuan imperial court in the late 13th to 14th centuries, as well as a 14th-century Nepalese Vajradhara in the Museum Rietberg, Zurich (Bigler, Before Yongle, 2015, pp. 74-91, nos. 17-20; Uhlig, On the Path to Enlightenment, 1995, pp. 60-1, no. 21, respectively). On the whole, Densatil sculpture of the 14th century is more refined than that of the 15th. Other closely related Densatil sculptures attributed to the 14th century are published in Czaja and Proser (eds.), Golden Visions of Densatil, 2014, pp. 116-7, 136, & 167, nos. 21-2, 31, & 42. Three related Lokeshvara Padmapani sculptures are preserved in the Potala Palace, Lhasa (von Schroeder, Buddhist Bronzes in Tibet, 2002, pp. 970-71, nos. 235B-E).For further information on this lot please visit Bonhams.com

STATUE DE VAJRASATTVA EN ALLIAGE DE CUIVRE DORÉTIBET, XVE SIÈCLEHimalayan Art Resources item no. 4853 24 cm (9 1/2 in.) high Footnotes:A GILT COPPER ALLOY FIGURE OF VAJRASATTVA TIBET, 15TH CENTURY西藏 十五世紀 銅鎏金金剛薩埵像Provenance:With Claude de Marteau, Brussels, by 1970sVajrasattva (lit. 'Vajra Being') is identified by the vajra he holds before his chest and the bell he cradles against his hip. He represents the Primordial Buddha, and as such is identical with Vajradhara. Sometimes Vajrasattva is also considered a sixth Presiding Buddha (Tathagata). He is usually invoked during a purification rite undertaken before most tantric instruction in Tibetan Buddhism. Seated in double-lotus posture (vajraparyankasana) above a double-lotus base, the Primordial Buddha raises his chin to impart an uplifting expression. The flared design of his earrings follow the aesthetic traditions of the Kathmandu Valley, and is one of several features indicating the bronze was produced by a Newari master craftsman for a Tibetan patron. The sculpture compares favorably with related examples of Vajradhara published in von Schroeder, Indo-Tibetan Bronzes, 1981, p. 430, nos. 113B-C).For further information on this lot please visit Bonhams.com

PLAQUE DE NAGADAKINI EN ALLIAGE DE CUIVRE DORÉ, MOULÉ ET REPOUSSÉTIBET, XVIIIE SIÈCLEHimalayan Art Resources item no. 4839 27.5 cm (10 7/8 in.) highFootnotes:A CAST AND REPOUSSE GILT COPPER ALLOY PLAQUE OF A NAGADAKINITIBET, 18TH CENTURY 西藏 十八世紀 銅鎏金及錘揲龍女像Provenance: With Claude de Marteau, Brussels, by 1970s In a Buddhist context, serpent deities (nagas) act as protectors of the material realm, and are often shown venerating or offering gifts of devotion to a buddha or bodhisattva. The use of repoussé for the bottom half of her snake body, in addition to the metal tang behind her back and her single outstretched arm, suggest that this nagadakini would have been placed on the upper portion of a large prabhamandala, a throne-back placed behind a statue of remarkable size. For examples of nagas in repoussé, see a fragment in the Art Institute of Chicago (1980.273a-c) and a prabhamandala with nagas in the Philadelphia Museum of Art (1927-18-17b).For further information on this lot please visit Bonhams.com

STATUE DE BOUDDHA SHAKYAMUNI EN ALLIAGE DE CUIVRE DORÉTIBET, XV/XVIE SIÈCLEHimalayan Art Resources item no. 4846 14 cm (5 1/2 in.) high Footnotes:A GILT COPPER ALLOY FIGURE OF SHAKYAMUNI BUDDHATIBET, 15TH/16TH CENTURY西藏 十五/十六世紀 銅鎏金釋迦牟尼像Provenance:With Claude de Marteau, Brussels, by 1970sIndicated by the placement of a vajra on top of the lotus base and the figure's right hand in bhumisparsha mudra, this gilt-bronze commemorates Shakyamuni's enlightenment underneath the bodhi tree at Bodh Gaya in Northeastern India. The artist has given the Historical Buddha a cheerful demeanor, perhaps intending to dispel any potential anger or concern within the viewer. Closely related sculptures are published in von Schroeder, Indo-Tibetan Bronzes, 1981, pp. 431 & 440, nos. 113F & 118A.For further information on this lot please visit Bonhams.com

STATUE DE BOUDDHA EN ALLIAGE DE CUIVRETHAÏLANDE, STYLE SUKHOTHAÏ DU NORD, XIV/XVE SIÈCLEWith traces of lacquer and gilding. 33.5 cm (13 1/4 in.) high Footnotes:A COPPER ALLOY FIGURE OF BUDDHA THAILAND, NORTHERN SUKHOTHAI STYLE, 14TH/15TH CENTURY泰國 北素可泰風格 十四/十五世紀 佛陀銅像Provenance:With Claude de Marteau, Brussels, by 1980sCeasing to represent the Buddha in a Khmer manner, the emergent Thai kingdoms of Sukhothai and the more northern Lan Na developed their own emblematically Thai Buddha images in the 13th century. The classic features each adopted were subsequently comingled in various ways, particularly in workshops located between the two capitals, giving rise to a broadly classified Northern Sukhothai style. This well-preserved sculpture pertains to a sub-category of Northern Sukhothai Buddha images classified by Stratton as the 'Thai Yuan' type, of which there are two closely related, important examples in the National Museum, Bangkok, and Wat Chedi Luang, Chiang Mai (Stratton, Buddhist Sculpture of Northern Thailand, 2004, p. 205, figs. 8.4 & 8.7). Sukhothai features abound in the present sculpture, from the 'single lotus' posture, the elegant abstracted fingers, the robe leaving the right shoulder bare, and the sash draped over the left shoulder reaching all the way to his navel. However, two ways in which it departs from the Classic Sukhothai style are a characteristically Northern flame above the ushnisha, which has a barbed silhouette compared to Sukhothai's even rippling flame, and a slightly rounder face. Nonetheless, the facial type draws close affinity with a 14th-century stucco head from Wat Phra Phai Lunag in Sukhothai Historical Park (Woodward, The Sacred Sculpture of Thailand, 1997, p. 152, fig. 153, no. 51).For further information on this lot please visit Bonhams.com

An Antique Bronze Meditating Buddha Statue.25 x 34cm.

Mel Crawford (Canadian, B. 1925) "Thailand" Signed lower left. Original Mixed Media painting on Illustration Board. Provenance: Collection of James A. Helzer (1946-2008), Founder of Unicover Corporation. This painting was originally published on the Fleetwood First Day Cover of the U.N. 20c Thailand Flags of the U.N. Series stamp issued September 25, 1981. Today's visitor to Thailand is immediately struck by the harmonious relationship between the old ways and the new. From modern airports and deluxe hotels to royal ceremonies, colorful Buddhist temples, and age-old canal marketplaces, Thailand seems to span centuries of history within her borders. Although Western dress has become more and more fashionable in the cities, the countryside has changed little over the years, and the ruins of the ancient Thai capital, Ayuthia, seem scarcely out of place. Thailand's modernization has been relatively smooth because traditional social standards, religious values, and the ancient, India-derived conception of governmental authority have remained unchanged. Thus, this southeast Asian country has managed to enjoy considerable economic prosperity, yet retain its distinctive cultural flavor. The economy of Thailand is still closely tied to the ownership of land, and the country produces a tremendous variety of savory fruits, such as mangoes, bananas, pineapples, litchis, and mangosteens. Visitors to the country's magnificent and valuable teakwood forests might very well see elephants being used to haul huge logs, just as they have done for centuries. And it would not be at all unusual to encounter a mammoth statue of Buddha, or a yellow-robed monk, for the industrious Thais continue to practice the Buddhist religion of their ancient ancestors. Image Size: 14 x 12.25 in. Overall Size: 17.5 x 15 in. Unframed. (B07176)

A bronze statue of buddha sitting cross legged, 42cmH

FÜNF BUDDHISTISCHE STATUEN China/Japan/Nepal Kupferlegierung. H. 14.5-30.5 cm. Das Konvolut umfasst eine stehende Statue von Padmapani Lokeshvara mit Silbereinlagen auf einem Steinsockel, eine sitzende Statue von Shadakshari Lokeshvara, eine sitzende Statue von Tsongkhapa und zwei Statuen von Amitabha Buddha. Partiell besch., mit Oxidationsspuren.

EIN LACKIERTER REISESCHREIN (ZUSHI) MIT STATUE VON AMIDA NYORAI Japan, 19./20. Jahrhundert Lackwaren/Metall. H. ca. 27 cm. In dem schwarz lackierten Schrein mit zwei Flügeltüren, die mit Kanagu aus Kupfer befestigt sind, befindet sich eine stehende Figur des Amida-Buddha, gestützt auf eine Lotusblume, die sich von einem taillierten Sockel erhebt. Der Innenraum ist gold lackiert. Part. besch. u. verkratzt, mit Gebrauchsspuren.

EINE KLEINE KUPFERLEGIERTE DOSE UND EINE HOLZGESCHNITZTE BUDDHA-STATUE China, 19./20. Jahrhundert Kupferlegierung/Holz. H. 14.5 cm/5x4x2.5 cm. Buddha steht auf einem sechseckigen Sockel, teilweise vergoldet. Die kleine Dose ist mit Blumen, Gemüse, Früchten und Vögeln etc. dekoriert. Part. besch., mit Gebrauchsspuren.

EIN FÜNFTEILIGES KONVOLUT China/Japan Bronze/Holz/Knochen. H. 10.8-16.5 cm, Schildpatt 21x15.6 cm. Das Konvolut umfasst ein bronzenes Räuchergefäß, eine bronzene Buddha-Hand, eine bronzene Statue eines Hirtenjungen, der auf einem Büffel reitet, ein beschriftetes Schildpatt und einen holzgeschnitzter Hausierer. Mit Gebrauchsspuren.

VIER BUDDHA-STATUEN AUS KUPFERLEGIERUNG Thailand/Indien, 19./20. Jahrhundert Kupferlegierung. H. ca. 6.5-17 cm. Das Konvolut umfasst drei thailändische Buddha-Statuen mit Goldspuren und eine Statue des indischen Elefantengottes. Part. besch., mit Gebrauchs- und Altersspuren.

EINE HOLZGESCHNITZTE SITZENDE STATUE VON SHAKYAMUNI Thailand, wohl 19. Jahrhundert Holz. H. 36 cm. Shakyamuni sitzt auf einem erhöhten Sockel, mit seiner linken Hand in dhyana mudra und der rechten Hand in bhumisparsha mudra. Der Sockel ist rotlackiert, Buddha ursprünglich vergoldet. Part. besch., mit Altersspuren.

EINE SITZENDE STATUE DES SHAKYAMUNI AUS ALABASTER Burma, 19. Jahrhundert Alabaster. H 37.8 cm. Der Buddha sitzt im Meditationssitz auf einem Lotossockel mit Inschrift vorne, beide Hände in dhyana mudra. Gewand, Sockel und die glatten Haare sind rotlackiert. Mit Altersspuren und Vergoldungsspuren.

EINE STEHENDE STATUE VON BUDDHA AUS BRONZE Thailand, 18./19. Jahrhundert Bronze. H. 67.5 cm. Der Buddha steht in samabhanga auf einem Lotussockel, der sich auf einer abgestuften runden Basis befindet, mit beiden Händen in abhaya mudra. Die Statue war über rotem Lack vergoldet. Part. besch., mit Alters- und Vergoldungsspuren.

A Thai papier-mâché Buddha, 20th century, wearing a long robe standing on a wooden pedestal, his hands in Abhaya mudra,89cm hightogether with a polychrome statue of Vishnu-Garuda,64cm high (2)Buddha - paint faded, chips and losses in various locations. Vishnu - cracks, splits, chips and losses in various locations.

BUDDHA STATUE,along with a group of other Buddha statues, also a modern circular glass topped occasional table (6)

A large early 20th century oriental carved and gilded standing Buddha statue, white painted face, hands and feet, gilded detailing to the robe with mirror mosaic embellishment and standing on a square pedestal base. H.144 W.60 D.25cm.

Composite garden statue formed as a Buddha, height 25cm

Composite statue of a Buddha, height approx 20cm

AN IMPRESSIVE PAIR OF LARGE SCROLL PAINTINGS DEPICTING NIO GUARDIANSJapan, c. 1700, early Edo period (1615-1868)Each boldly and expressively painted with ink and watercolors on silk, mounted as a hanging scroll with a silk brocade frame. Each depicting one of the two Nio guardians, Agyo with open mouth and Ungyo with closed mouth, respectively, well detailed with muscular bodies, flowing robes, and billowing garlands, and adorned with a necklace, bracelets, and armlets, one holding a Buddhist tuning fork and the other a thunderbolt sceptre. Their faces show fierce, almost grotesque expressions marked by large bulging eyes and furrowed brows.SIZE 127.5 x 75.6 cm (image, each) and 192 x 91.5 cm (total, each)Condition: Good condition with some wear, soiling, creasing, few minuscule losses, the mounting with some wear and small tears.Provenance: Dutch collection.With an old black-lacquered wood storage box.Nio or Kongorikishi are two wrathful and muscular guardians of the Buddha, found at the entrance of many Buddhist temples in East Asian Buddhism in the form of frightening wrestler-like statues. They are dharmapala manifestations of the bodhisattva Vajrapani, the oldest and most powerful of the Mahayana Buddhist pantheon. According to Japanese tradition, they travelled with Gautama Buddha to protect him. Within the generally pacifist tradition of Buddhism, stories of dharmapalas justified the use of physical force to protect cherished values and beliefs against evil. Nio are also seen as a manifestation of Mahasthamaprapta, the bodhisattva of power that flanks Amitabha in Pure Land Buddhism and as Vajrasattva in Tibetan Buddhism. They are usually a pair of figures that stand under a separate temple entrance gate commonly called Niomon in Japan. The right statue is called Misshaku Kongo (or Agyo) and has his mouth open, and the left statue is called Naraen Kongo (or Ungyo) and has his mouth closed. Similar to Alpha and Omega in Christianity, they signify 'everything'.