assis en vajrasana sur une double base lotiforme, les mains jointes devant sa poitrine en abhisekana mudra, vêtu d'un fin dhoti aux plis harmonieux formant un éventail entre ses jambes et laissant l'épaule droite découverte, le visage serein aux paupières baissées encadré d'imposantes boucles d'oreille pendues à ses longs lobes, le front agrémenté de l'urna ceint d'une riche couronne ouvragée à cinq pointes tenant par un ruban noué derrière sa tête, entourant son haut chignon surmonté de l'ushnisha, non scellé

傳瑞士私人收藏
Koller 苏黎世、1988年11月11日、1A編號

The figure is in overall very good condition. There is a ca. 1.5cm long diagonal dent and a ca. 0.5cm long dent to the figure's upper right hand shoulder (visible in the catalogue and cover illustration) and two ca. 1cm wide shallow dents just above near the neck (also just visible in the catalogue illustration and cover). There is light overall wear to the rich gilding and some minor scratching. There is also a ca. 2.5cm long casting flaw to the rim of the base on the back of the figure and a ca. 2.5x0.5 cm large casting flaw to the rim of the base on the figure's right side. There is a tiny ca. 0.2x0.2cm large hole to the figure's left foot. There are traces of blue pigment to the hair and red pigment to the interior of the figure. The figure is heavily cast and covered with a rich golden gilding that is suffused with tiny bubbles.
"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."

本尊銅鎏金大日如來坐像造型碩大，珍罕瑰麗，體現印度密教根本經典《大日經》真義。《大日經》或寫於那爛陀寺（今比哈爾邦），由印度高僧善無畏八世紀傳入中土。本初佛，諸佛之始，本佛像寶冠耳飾華貴諧雅，切合大日如來之本初佛身份，身披簡潔僧袍，更顯謙和慈悲，雙手結智拳印，標示滅無明妄想，入於佛智，法相莊嚴，沉穩肅穆。本像面相與多件十五世紀中期中國雕像相近，深刀雕刻，眼型細長，嘴唇飽滿，輪廓寬廣，比較一例，尺寸相近，現藏於Newark Museum，錄於Marylin M. Rhie及Robert A. F. Thurman，《The Sacred Art of Tibet》，倫敦，1991年，頁356，編號146。

本佛像寶冠屬十五世紀典型，冠前正中嵌三顆寶石，中心寶石呈方形，兩旁寶🙈石呈梨形，乃常見於明初之設計，五葉嵌寶天冠，循明永樂宣德兩朝風格，可比較Speelman收藏宣德銅鎏金金剛舞菩薩立像一對，售於香港蘇富比2006年10月7日，編號805。佛袍衣褶表現細緻入微，衣料緊貼膝蓋及肩膀，足踝及胸前布摺寬鬆，鬆垂於台座上半部，造型與同期作例相近。而本佛像斷代十五世紀、並可溯源至永樂年風格之最大關鍵，則在於大幅平褶衣袍自左肩垂下，此特色常見於明初造像，明代後期已不復見，相近作例，可參考Speelman收藏永樂釋迦牟尼坐像，出處同上，編號808。

永樂宣德兩朝御製銅器，影響正統、景泰兩朝造像風格，製作本品之藝匠，亦似深受永樂宣德御作🍷啟發。成化佛像製作ඣ，風格相對嚴慎。本大日如來坐像造型揮灑自信，工匠明顯深諳明初風格及造像比例典型，或可推斷本像製於十五世紀中期以前。永樂年間，朝廷多有賞賜銅鎏金造像予西藏掌權者，文獻記載甚詳，宣德年間則大幅減少，宣德年後幾乎斷絕，罕見於記載文獻。故此，本大日如來坐像應為正統或景泰年間為中原廟宇製作，而非為西藏寺廟而製。