seated in laitasana with the swaying torso depicted leaning against an armrest on his left, the right arm resting on his raised right knee and the lowered left leg supported on a lotus flower, dressed in a voluminous dhoti gathered at the waist, opening at the chest to reveal a beaded necklace, the shoulders draped with a celestial scarf billowing in the wind, depicted holding a mani pearl, the head inclined with a benevolent facial expression, crowned by an elaborate diadem before a high chignon, traces of original gilding, wood stand

As visible in the catalogue photo, there is typical oxidatisation and pitting to the bronze surface. The gilding is rubbed but there are still traces of the original pigment. There is a loss to the tip of the right side of the scarf. Other minor losses to the lower tops of the design and bruising. There are minor chips and losses to the wood stand. Please note that this lot comes with a thermoluminescence test result (no. N115a44) which is consistent with its dating.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

This rare bronze figure of Avalokitesvara, depicted seated in the majestic position of 'royal ease', rajalilasana, is of superlative quality, finely cast with exquisite facial features radiating serenity, adorned with opulent jewellery and long flowing robes. The closest comparable example is another bronze figure of Avalokitesvara, formerly in the collection of Greville L. Winthrop and now preserved in the Fogg Art Museum, illustrated in Hugo Munsterberg, Chinese Buddhist Bronzes, New York, 1967, pl. 68. It is discussed by the author, ibid., p. 70, where he refers to it as the 'most outstanding of the seated Kuan-yin figures of the Sung period... the style typically Sung, with soft contours, flowing lines and a soft, painterly manner. 

This 'royal ease' position is rarely found in bronze, but more commonly found in wood carved figures of the period. It represents the vibrant and luminous state of mind which is flawless, pure and perfect, and is likely to depict the Water-Moon Avalokitesvara (Shuiye), a representation derived from Tang dynasty paintings. It is thought that these paintings, which no longer survive, served as prototypes for sculptors and such representations of Avalokitesvara were particularly popular during the Song period. For a comprehensive discussion of this subject see Angela Falco Howard et. al, Chinese Sculpture, New Haven, 2006, p. 388. The moon is believed to be the controller of the water, circulating through the universe and sustaining all living creatures. Moreover, the moon in water is common in Buddhist scriptures and symbolises the transitory nature of the world. Although there is no scriptural basis for linking Avalokitesvara with these metaphors, it is thought this imagery was adopted and adapted from sources outside Buddhism.

The reclining pose is thought to originate from an episode in the 'Flower Garland', or Avatamsuka Sutra, in which its protagonist, the young Sudhana in his search for true wisdom, seeks Avalokitesvara on his island residence of Mount Potalaka. The divine Compassionate One appears seated in 'royal ease' inside a grotto and debates with Sudhana. The spread of the Avatamsaka Sutra in China from the 10th century saw the concurrent development of this posture, see Derek Gilman, 'A New Image in Chinese Buddhist Sculpture of the Tenth to Thirteenth Century', Transactions of the Oriental Ceramic Society, vol. 47, 1982-83, pp. 32-44.

For an example in gilt-bronze, compare the famous 'Water-Moon Guanyin' manifestation in the Royal Ontario Museum, included in the exhibition The World of Khubilai Khan. Chinese Art in the Yuan Dynasty, The Metropolitan Museum of Art, New York, 2010, cat. no. 149. See also a smaller bronze figure of Avalokitesvara, illustrated in Munsterberg, ibid., pl. 69, for an example in the Freer Gallery of Art; and also another gilt-bronze example from the Oppenheim collection, now in the British Museum, illustrated in Ulrich von Schroeder, Indo Tibetan Bronzes, Hong Kong, 1981, pl. ♒143D, attributed to the ear𓆏ly Ming dynasty.

The dating of ওthis lot is consistent with the results of a thermoluminescence test, Oxford Authentication, sam𓃲ple no. N115a44.