Sino-Tibetan Earth-Touching Buddha (Shakyamuni) Gilt and Cold-Painted Silver Figurine
Decorative Object / Religious Statuary · Unknown Himalayan or Chinese Workshop; traditionally forged by Newar silversmiths or regional artisans specializing in Buddhist metalwork.
Pattern: Traditional Buddhist Iconography: Shakyamuni Buddha in Bhumisparsha Mudra (Earth Witness pose).
Type
Decorative Object / Religious Statuary
Maker
Unknown Himalayan or Chinese Workshop; traditionally forged by Newar silversmiths or regional artisans specializing in Buddhist metalwork.
Material
Likely high-purity 'White Silver' (approx. 90-95% purity) or silver-plated copper alloy (Cold gilt/Vermeil), with cold-painted pigments on face and hair.
Dimensions
Estimated Height: 12-14 inches (30-35 cm); Estimated Weight: 2,000–3,500 grams depending on whether the core is hollow or resin-filled.
Description
A striking representation of Gautama Buddha at the moment of enlightenment. The figure features 'cold gold' facial painting, a traditional technique where gold powder is applied without heat for a matte finish, contrasted against a heavily textured, silver-toned robe engraved with geometric floral motifs.
Key Features
Bhumisparsha mudra (right hand touching earth); elongated earlobes; ushnisha (cranial bump); contrast between polished gilding and antiqued silver textures.
Material & Composition
Likely high-purity 'White Silver' (approx. 90-95% purity) or silver-plated copper alloy (Cold gilt/Vermeil), with cold-painted pigments on face and hair.
Finish & Decoration
Gilded (fire-gilt or electroplate) flesh surfaces; chased and engraved patterns on the robe (kasaya) representing patchwork; cold-painted blue hair and facial features (urna and lips).
Hallmarks & Stamps
Usually lacks Western-style hallmarks; may contain a '925' or 'Silver' stamp on the base plate, or a sacred 'Visvavajra' (Double Thunderbolt) engraved on the bottom seal.
Construction Details
Lost-wax casting (cire perdue) with hand-finishing, chasing, and stone-setting (if applicable). The base is likely a separate plate cold-crimped into the figure.
Functional Features
Sacred base plate (often copper) which traditionally seals 'zung' (consecrated scrolls, incense, and relics) inside the hollow interior.
Handle & Grip Details
Not applicable; static sculptural form.
Craftsmanship Details
High-quality chasing on the textile patterns; face shows expert use of 'cold gold' to achieve a lifelike, meditative expression consistent with high-end gallery pieces.
Authentication Indicators
Construction reflects traditional tiered casting; however, the symmetry and surface smoothness suggest modern precision tools. Purity must be verified by XRF as 'silver' in this context often refers to a silver-colored alloy.
Origin & Manufacturing
Likely Nepal (Patan/Lalitpur region) or mainland China (Tibetan-style workshops).
Era & Period
Modern Traditional (late 20th to 21st century), following classic 15th-century Ming/Tibetan stylistic proportions.
Age Estimate
Circa 1990–Present; the crispness of the features and use of modern pigments suggest a contemporary production.
Cultural Significance
A primary object of veneration in Vajrayana and Mahayana Buddhism, representing the triumph over temptation and the attainment of absolute truth.
Condition Notes
Very Good/Excellent. Some light scuffing on the gilding of the chest and shoulders; hair pigment remains vibrant; slight oxidation on the silvered robe areas; base plate appears intact.
Value Estimate
$400–$1,200 (if silver-plated/white metal) to $3,000+ (if solid sterling silver), depending on silver weight and artist reputation.
Care & Maintenance
Avoid abrasive silver polishes on gilded or painted areas. Use a dry microfiber cloth or soft goat-hair brush to remove dust. Do not use liquids on the cold-painted face.
Similar Pieces
Gilt-Bronze (more common/less expensive), 18th-century Sino-Tibetan silver (rare/museum quality), or resin-cast silver-clad reproductions.
Interesting Facts
The blue hair represents the 'deep blue-black' hair described in the 32 major marks of a Buddha; in Tibetan tradition, the face is often painted last by a master artist after the metalwork is complete.