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Lot 425 – Hand-Finished Gilt Metal Buddha on Lotus Throne, 18th–Early 19th Century

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SKU

425

Lot 425 – Seated Buddha on lotus throne.

Gilt metal surface over alloy core.

Hand-finished details in recessed zones.

Dating: 18th–early 19th century plausible.

SKU: 425.

€1,980.00

The seated Buddha of Lot 425 presents a gilt-metal surface applied to an alloy core, executed in a workshop tradition consistent with the late 18th to early 19th century. The figure is shown in Bhumisparsha mudra, the earth-touching gesture of awakening, seated upon a clearly defined lotus throne with rounded petal segments encircling the base. The gilding is extremely thin, displaying natural flaking and wear in varied directions, a surface behaviour aligned with hand-applied gold rather than exposed brass or polished copper alloys.

Close inspection of the rear plane shows restrained modelling with hand-finished lines, where patina has accumulated in the recessed margins. These darker oxidation zones and micro-mineral deposits around scratch edges support a historically aged adhesion layer beneath the gold. Under UV examination, the gilded surface remains inert, further reinforcing the presence of gold rather than a solid brass exterior.

Objects from this period were typically produced by artisans working within generational workshops, many of whom are no longer recorded by name. Such images were created for devotional and ritual contexts, where gilding served to elevate both the spiritual and visual presence of the sculpture. The combination of a traditional lotus base, natural surface ageing in protected recesses, and a calm, balanced iconographic posture makes this piece a credible representative of pre-modern workshop production, suitable for collection and study within the Asian art market.

Lot 425 – Hand-Finished Gilt Metal Buddha on Lotus Throne, 18th–Early 19th Century

In stock

Description

Estimated Value: €3,500 – €5,500

Object

Lot / SKU: Lot 425 (SKU 425)
Object: Seated Buddha on lotus throne, in Bhumisparsha mudra
Proposed date: 18th – early 19th century (provisional, based on surface evidence and photos)
Region: Asian workshop tradition (precise attribution pending full comparative set review with Lot 424)

Material

Gilt metal surface over a metal-alloy core. The visible finish behaves as a very thin applied gold layer rather than exposed solid brass.

Technique

Cast figure with hand-finished detailing. The gilding presents as an applied gold film with natural flaking/fragmentation consistent with aged gilded surfaces. Rear plane shows restrained, hand-finished lines rather than uniform machine engraving.

Iconography

The Buddha is seated in meditation on a lotus throne, displaying Bhumisparsha (earth-touching) mudra—an iconographic reference to the moment of awakening. The lotus base is clearly defined with rounded petal segmentation around the plinth.

Surface & Evidence

Scratch tests reveal a thin, leaf-like gold film with darker oxidised margins and micro-deposits concentrated in protected edges. Under UV inspection, scratch zones are reported as difficult to relocate due to low contrast and an inert response—behaviour consistent with gold rather than a uniformly UV-reactive brass surface. Recessed zones retain darker patina and aged build-up, supporting historical surface ageing rather than a freshly polished base metal.

Construction

Metal figure with applied gilded surface. Workshop finishing is visible in rear-plane line work and in the non-uniform directionality of surface wear. Full interior/underside inspection is recommended if accessible (to confirm casting profile, oxidation depth, and any historic sealing).

Condition

Overall stable. Visible wear and loss to gilding consistent with age and handling. Recent scratch testing has created fresh marks; these should be documented as part of the object’s current condition record.

Dimensions

Dimensions (H × W): 36.5 × 24 cm
Weight: 4 kg

Authenticity

Based on the observed behaviour of the gilded surface (thin applied gold film), aged patina accumulation in recessed margins, and the reported UV inertness of scratch zones, the object is consistent with a historically gilded metal sculpture rather than a modern polished brass decorative item. Final confirmation of technique (including possible fire gilding) requires controlled microscopy of intact gilded areas and, where possible, interior/underside verification.