{"title":"Masterpieces","description":"\u003cp\u003e\u003cstrong\u003eMasterpieces\u003c\/strong\u003e is a tightly edited selection of exceptional Buddha statues and Buddhist sculpture chosen for rarity, age, craftsmanship, scale, iconographic importance and overall collector appeal. These are the works that stand apart within the wider collection.\u003c\/p\u003e\u003cp\u003ePieces in this category may include important antique bronzes, fire-gilded Himalayan sculpture, large Burmese temple figures, rare regional types and unusually complete or visually powerful examples. Selection is based on the object as a whole: material, construction, condition, patina, provenance potential, historical context and artistic quality.\u003c\/p\u003e\u003ch2\u003eExceptional Buddha statues for serious collectors\u003c\/h2\u003e\u003cp\u003eFor collectors looking beyond decorative sculpture, this is the starting point. Each work is documented individually with measurements, material, condition and attribution where possible. Compare with our \u003ca href=\"\/collections\/antique-buddha-statues\"\u003eantique Buddha statues\u003c\/a\u003e, \u003ca href=\"\/collections\/bronze-buddha-statues\"\u003ebronze Buddha statues\u003c\/a\u003e and \u003ca href=\"\/collections\/large-buddha-statues\"\u003elarge Buddha statues\u003c\/a\u003e.\u003c\/p\u003e","products":[{"product_id":"antique-ladakh-shakyamuni-buddha-fire-gilded-bronze-18th-century","title":"Antique Ladakh Shakyamuni Buddha – Fire-Gilded Bronze, 18th Century","description":"\u003cp\u003eA large and unusually heavy \u003cstrong\u003eShakyamuni Buddha\u003c\/strong\u003e attributed to 18th-century Ladakh in the Western Himalaya. Cast in bronze and extensively gilded, the image combines a serene frontal presence with technical evidence of hand finishing, traditional casting and long ritual use.\u003c\/p\u003e\u003ch2\u003eObject details\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSubject:\u003c\/strong\u003e Shakyamuni Buddha\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCurrent attribution:\u003c\/strong\u003e Ladakh, Western Himalaya\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDate:\u003c\/strong\u003e 18th century\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMaterial:\u003c\/strong\u003e bronze with historic fire gilding\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eHeight:\u003c\/strong\u003e 37.5 cm\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eWidth:\u003c\/strong\u003e 25.5 cm\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eWeight:\u003c\/strong\u003e 4.2 kg\u003c\/li\u003e\n\u003c\/ul\u003e\u003ch2\u003eA Western Himalayan altar image\u003c\/h2\u003e\u003cp\u003eLadakh developed a distinctive sculptural language at the intersection of Tibetan Buddhism and wider Himalayan metalworking traditions. This figure has the scale and mass associated with an important altar image rather than a portable devotional bronze. The calm modelling is balanced by carefully chased hair, engraved robe borders and a substantial lotus support.\u003c\/p\u003e\u003ch2\u003eGilding and hand finishing\u003c\/h2\u003e\u003cp\u003eThe gilded surface is not uniform. High points around the face and other exposed areas show soft rubbing, while stronger gold survives in recesses and protected details. Parallel file and finishing marks remain visible in less exposed areas, and the engraved robe borders preserve the hand of the metalworker rather than a mechanically perfect pattern.\u003c\/p\u003e\u003cp\u003eDark residues are retained around the hair curls and deeper recesses. These deposits form part of the object's surface history and have not been removed to create an artificially even finish.\u003c\/p\u003e\u003ch2\u003eInterior construction\u003c\/h2\u003e\u003cp\u003eThe underside is open and gives unusually direct access to the casting history. Remnants of clay core material, shrinkage cracks, white mineral efflorescence and small quantities of organic material are visible inside. Together they are consistent with traditional lost-wax manufacture and a long object history.\u003c\/p\u003e\u003cp\u003eThese observations are documented as technical evidence, not used as shortcuts to age. Clay core, organic residues or mineral deposits can support a broader assessment, but none of them independently establishes an 18th-century date.\u003c\/p\u003e\u003ch2\u003eAttribution\u003c\/h2\u003e\u003cp\u003eThe present attribution to \u003cstrong\u003e18th-century Ladakh\u003c\/strong\u003e rests on the combination of iconography, proportions, lotus treatment, metalworking, gilding and comparison with Western Himalayan Buddhist sculpture. The region's artistic history involved continuous exchange with Tibet, Kashmir and Nepal, so the object is approached within that broader network rather than as an isolated local style.\u003c\/p\u003e\u003ch2\u003eCondition\u003c\/h2\u003e\u003cp\u003eThe sculpture retains extensive historic gilding with rubbing, minor scratches, deposits and colour variation expected on an object of this age and function. The open underside and surviving interior remains are left visible as part of the construction record. No attempt has been made to disguise the distinction between original surface, wear and later deposits.\u003c\/p\u003e\u003ch2\u003eCollector note\u003c\/h2\u003e\u003cp\u003eThe combination of 37.5 cm scale, 4.2 kg weight, historic gilding and accessible construction details makes this an unusually instructive as well as visually powerful Himalayan Buddha. It is a piece that can be appreciated both as sculpture and as an object of technical study.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eWorldwide insured shipping is available.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Buddha-Statues.com","offers":[{"title":"Default Title","offer_id":63361425867082,"sku":"678","price":8500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1073\/1693\/7034\/files\/18th-century-ladakh-shakyamuni-buddha-study-view-01.jpg?v=1787859535"},{"product_id":"antique-tibetan-vajrasattva-fire-gilded-bronze-19th-century","title":"Antique Tibetan Vajrasattva – Fire-Gilded Bronze, 19th Century","description":"\u003cp\u003eA monumental \u003cstrong\u003eVajrasattva\u003c\/strong\u003e from the Tibetan Himalayan tradition, cast in a copper-rich bronze and retaining extensive historic gilding. The sculpture combines substantial weight with unusually elaborate hand engraving, while an old Nepalese lacquer seal and cord preserve an important later chapter in its documented object history.\u003c\/p\u003e\u003ch2\u003eObject details\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSubject:\u003c\/strong\u003e Vajrasattva \/ Dorje Sempa\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOrigin:\u003c\/strong\u003e Tibet \/ Himalaya, with strong Newar influence\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDate:\u003c\/strong\u003e 19th century, current attribution\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMaterial:\u003c\/strong\u003e copper-rich bronze with historic gilding\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eHeight:\u003c\/strong\u003e 40.5 cm\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eWidth:\u003c\/strong\u003e 27.5 cm\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eWeight:\u003c\/strong\u003e 5.4 kg\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eProvenance marker:\u003c\/strong\u003e old Nepalese lacquer inspection\/export seal with original cord\u003c\/li\u003e\n\u003c\/ul\u003e\u003ch2\u003eIconography\u003c\/h2\u003e\u003cp\u003eVajrasattva is shown with his two defining ritual attributes: the \u003cstrong\u003evajra\u003c\/strong\u003e and \u003cstrong\u003eghanta\u003c\/strong\u003e. In Vajrayana practice the pair expresses the complementary principles of method and wisdom. Crown, jewellery and richly worked garments place the figure firmly within the visual language of Himalayan tantric Buddhism.\u003c\/p\u003e\u003ch2\u003eStyle and workshop tradition\u003c\/h2\u003e\u003cp\u003eThe sculpture is best described as Tibetan\/Himalayan with pronounced \u003cstrong\u003eNewar influence\u003c\/strong\u003e. The crown, jewellery, body modelling and dense engraved ornament recall the long history of Newar metalworkers producing Buddhist images for Tibetan patrons. Some decorative passages also show Sino-Tibetan vocabulary, illustrating how workshop traditions moved across the Himalayan cultural network.\u003c\/p\u003e\u003ch2\u003eGilding and surface\u003c\/h2\u003e\u003cp\u003eMicroscopic examination shows gold-coloured material surviving most strongly in protected recesses and along engraved details, while exposed high points have worn to a darker copper-rich surface. The gradual transition between these zones is consistent with a historic metallurgical gilding process and with long-term wear.\u003c\/p\u003e\u003cp\u003eThe surface observations are consistent with traditional fire gilding. No separate elemental analysis for mercury is cited here, so the technical interpretation is presented as an evidence-based assessment rather than an instrumental confirmation.\u003c\/p\u003e\u003ch2\u003eHand finishing\u003c\/h2\u003e\u003cp\u003eThe garments are covered with florals, borders and geometric motifs cut into the metal after casting. Small variations in line depth and direction are visible under magnification. Dark deposits remain in recessed engraving while raised areas are smoother from handling and cleaning, producing a layered surface rather than a newly uniform patina.\u003c\/p\u003e\u003ch2\u003eThe Nepal provenance seal\u003c\/h2\u003e\u003cp\u003eA small red lacquer or shellac seal remains attached by an old cord. Its brittle, cracked surface and attachment are consistent with historic Nepalese administrative or export sealing practices, provisionally around the mid-20th century.\u003c\/p\u003e\u003cp\u003eThe seal is important, but its meaning should be precise: it records a moment when the sculpture was in Nepal and passed through an administrative process. It \u003cstrong\u003edoes not prove that the statue was made in Nepal\u003c\/strong\u003e, and it does not by itself establish the 19th-century dating. It is best understood as a provenance marker and potential terminus ante quem for the object's later history.\u003c\/p\u003e\u003ch2\u003eCondition\u003c\/h2\u003e\u003cp\u003eHistoric rubbing, oxidation, deposits and uneven gilding are present throughout. These variations have been retained rather than visually homogenised. The sculpture remains an exceptionally substantial example, with the combination of scale, engraving, gilding and surviving seal making it particularly compelling for a specialist Himalayan collection.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eWorldwide insured shipping is available.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Buddha-Statues.com","offers":[{"title":"Default Title","offer_id":63361427145034,"sku":"724","price":15500.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1073\/1693\/7034\/files\/antique-tibetan-vajrasattva-fire-gilded-bronze-19th-century.jpg?v=1787859475"},{"product_id":"antique-burmese-mandalay-buddha-gilt-teak-thayo-glass-mosaic","title":"Antique Burmese Mandalay Buddha – Gilt Teak, Thayo \u0026 Glass Mosaic, ca. 1880–1920","description":"\u003cp\u003eA monumental Burmese \u003cstrong\u003eMandalay Buddha\u003c\/strong\u003e carved from teak and built up with thit-si lacquer, thayo relief, gold leaf and extensive mirror and glass mosaic. At 82 cm wide and 33.8 kg, it is an architectural presence as much as a devotional sculpture.\u003c\/p\u003e\u003ch2\u003eObject details\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSubject:\u003c\/strong\u003e Shakyamuni Buddha in Bhumisparsha mudra\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOrigin:\u003c\/strong\u003e Mandalay tradition, Myanmar (Burma)\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDate:\u003c\/strong\u003e ca. 1880–1920\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMaterial:\u003c\/strong\u003e teak, thit-si lacquer, thayo relief, gold leaf, mirror and coloured glass inlay\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eHeight:\u003c\/strong\u003e 82 cm\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eWidth:\u003c\/strong\u003e 72 cm\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eWeight:\u003c\/strong\u003e 33.8 kg\u003c\/li\u003e\n\u003c\/ul\u003e\u003ch2\u003eMandalay workshop character\u003c\/h2\u003e\u003cp\u003eThe image belongs to the richly decorative late Mandalay tradition, in which carving, lacquer work, relief ornament and reflective inlay are treated as a single visual system. The Buddha sits in \u003cstrong\u003eBhumisparsha mudra\u003c\/strong\u003e, the earth-touching gesture associated with the moment of enlightenment.\u003c\/p\u003e\u003cp\u003eRather than relying on painted decoration alone, the surface is physically constructed in layers. Raised thayo patterns define borders, garments and architectural elements; gold leaf unifies the relief; individually placed mirror and glass fragments then catch changing light across the figure.\u003c\/p\u003e\u003ch2\u003eThayo and glass mosaic\u003c\/h2\u003e\u003cp\u003eThayo is one of the distinctive decorative techniques of Burmese lacquer craftsmanship. A relief medium is formed and applied over the prepared surface before gilding and inlay. Here it provides the framework for a dense mosaic of reflective elements. The result would have been particularly effective in a temple or shrine interior illuminated by moving natural light, candles or oil lamps.\u003c\/p\u003e\u003ch2\u003eSurface history\u003c\/h2\u003e\u003cp\u003eClose examination shows old craquelure in the lacquer, rubbing to the gilding, local losses and variation between individual glass and mirror elements. Those changes are not treated as defects to be concealed; they are part of the visual record of an object that has survived for more than a century.\u003c\/p\u003e\u003cp\u003eThe teak construction remains legible beneath the elaborate surface, and the tension between carved structure and applied decoration is one of the reasons Mandalay sculpture is so immediately recognisable.\u003c\/p\u003e\u003ch2\u003eDating and attribution\u003c\/h2\u003e\u003cp\u003eThe current dating of \u003cstrong\u003eca. 1880–1920\u003c\/strong\u003e places the work around the late Konbaung and early colonial period, when Mandalay remained a major centre for religious carving and lacquer decoration. The attribution is based on carving style, facial type, decorative vocabulary, materials and technique rather than on an unverified workshop name.\u003c\/p\u003e\u003ch2\u003eCondition\u003c\/h2\u003e\u003cp\u003eAge-related wear, craquelure, small losses to gilding and inlay, and unevenness in the decorative surface are present. The sculpture retains a strong overall visual unity and extensive historic decoration. Its large scale requires specialist packing and transport.\u003c\/p\u003e\u003ch2\u003eCollector note\u003c\/h2\u003e\u003cp\u003eThis is a particularly strong example for a collection focused on Burmese Buddhist art because the principal Mandalay techniques remain visible together: carved teak, lacquer, thayo relief, gilding and glass mosaic. The object is both highly decorative and technically informative.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eWorldwide insured shipping is available; freight for a work of this scale is quoted individually.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Buddha-Statues.com","offers":[{"title":"Default Title","offer_id":63361436582218,"sku":"718","price":8790.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1073\/1693\/7034\/files\/antique-burmese-mandalay-buddha-gilt-teak-glass-mosaic-front.jpg?v=1787859601"},{"product_id":"antique-japanese-seated-buddha-gilt-bronze-ca-1900","title":"Antique Japanese Seated Buddha – Gilt Bronze, ca. 1900","description":"\u003cp\u003e\u003cstrong\u003eJapan | ca. 1900, late Meiji period | Bronze with surviving gilding | H 56 × W 51 cm | 19.4 kg\u003c\/strong\u003e\u003c\/p\u003e\u003cp\u003eThis large Japanese seated Buddha dates to around 1900 and combines substantial cast-bronze construction with a calm, restrained sculptural presence. At 56 cm high and 19.4 kg, it was made on a scale suitable for a serious devotional or temple setting.\u003c\/p\u003e\u003cp\u003eThe hands rest together in the lap in \u003cstrong\u003edhyana mudra\u003c\/strong\u003e, the gesture of meditation. Because this mudra appears with more than one Buddha in Japanese iconography, the sculpture is deliberately catalogued here as a seated Buddha rather than assigned to Shakyamuni or Amida without stronger identifying evidence.\u003c\/p\u003e\u003ch2\u003eHistoric gilded surface\u003c\/h2\u003e\u003cp\u003eSmall areas of gold-toned surface remain in protected recesses and among the deeper modelling. Under magnification these residues appear integrated with the aged bronze surface rather than sitting as a uniform recent coating. The surviving evidence indicates that the sculpture historically carried a gilded finish, much of which has been lost through time and handling.\u003c\/p\u003e\u003ch2\u003eJapanese bronze construction\u003c\/h2\u003e\u003cp\u003eThe interior retains an old mineral casting core and internal structural elements associated with hollow bronze manufacture. The exterior shows the much more refined chasing and finishing expected of a completed devotional sculpture. Microscopic documentation records gilding residues, oxidation and tool-finished surfaces.\u003c\/p\u003e\u003ch2\u003eKey details\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSubject:\u003c\/strong\u003e Seated Buddha\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eOrigin:\u003c\/strong\u003e Japan\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDate:\u003c\/strong\u003e ca. 1900, late Meiji period\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMaterial:\u003c\/strong\u003e Bronze\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eSurface:\u003c\/strong\u003e Patina with surviving historic gilding\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMudra:\u003c\/strong\u003e Dhyana\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eDimensions:\u003c\/strong\u003e H 56 × W 51 cm\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eWeight:\u003c\/strong\u003e 19.4 kg\u003c\/li\u003e\n\u003c\/ul\u003e\u003ch2\u003eCondition\u003c\/h2\u003e\u003cp\u003eThe bronze shows extensive loss of the gilded surface, natural patination, abrasion and age-related wear. These changes are integral to the sculpture's appearance and have not been cosmetically masked. The photographs include close and microscopic views of the surviving surface.\u003c\/p\u003e","brand":"Buddha-Statues.com","offers":[{"title":"Default Title","offer_id":63361436811594,"sku":"716","price":5785.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1073\/1693\/7034\/files\/antique-japanese-seated-buddha-gilt-bronze-front-view.jpg?v=1787861305"},{"product_id":"silvered-medicine-buddha-newar-bhaisajyaguru-1450-1600","title":"Monumental Silvered Medicine Buddha – Newar Tradition, ca. 1450–1600","description":"\u003cp\u003eA substantial Himalayan image of \u003cstrong\u003eBhaisajyaguru, the Medicine Buddha\u003c\/strong\u003e, notable for its unusually heavy construction, silvered surface and extensive hand finishing. At 40 cm high and approximately 5.4 kg, the sculpture has the physical presence of a major altar bronze rather than a small devotional figure.\u003c\/p\u003e\u003ch2\u003eObject details\u003c\/h2\u003e\u003cul\u003e\n\u003cli\u003e\n\u003cstrong\u003eSubject:\u003c\/strong\u003e Bhaisajyaguru \/ Medicine Buddha\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eCurrent attribution:\u003c\/strong\u003e Newar workshop tradition, probably Kathmandu Valley, likely made for a Tibetan Buddhist context\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eWorking date:\u003c\/strong\u003e ca. 1450–1600\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eMaterial:\u003c\/strong\u003e heavy copper-alloy bronze with silvered surface and metal inlays\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eHeight:\u003c\/strong\u003e 40 cm\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eWidth:\u003c\/strong\u003e 25 cm\u003c\/li\u003e\n\u003cli\u003e\n\u003cstrong\u003eWeight:\u003c\/strong\u003e 5,425 g\u003c\/li\u003e\n\u003c\/ul\u003e\u003ch2\u003eWhy this piece matters\u003c\/h2\u003e\u003cp\u003eThe visual character is defined by the contrast between the pale silvered surface and warmer copper-rich metal exposed through wear. Silver-toned Himalayan Buddhist sculpture is considerably less common than conventional gilt bronze, and here the treatment is integrated with a sophisticated programme of inlay and chased detail.\u003c\/p\u003e\u003cp\u003eThe hands, feet and face contain contrasting metal details, including the urna and eye treatment. The long ceremonial robe is extensively incised rather than relying on a uniform decorative finish. These details create a sculpture that rewards close examination as much as frontal display.\u003c\/p\u003e\u003ch2\u003eAttribution and style\u003c\/h2\u003e\u003cp\u003eThe current working attribution places the image within the \u003cstrong\u003eNewar metalworking tradition\u003c\/strong\u003e of the Kathmandu Valley, in a form intended for a Tibetan or wider Himalayan Buddhist patron. The facial modelling, body proportions, robe treatment and technical finish are considered together rather than using any single feature as a dating device.\u003c\/p\u003e\u003cp\u003eAt present we use a cautious date range of \u003cstrong\u003eca. 1450–1600\u003c\/strong\u003e. This is an attribution based on stylistic and technical evidence and should not be read as a laboratory-derived calendar date. Further comparative or material analysis may refine that position.\u003c\/p\u003e\u003ch2\u003eSurface and construction\u003c\/h2\u003e\u003cp\u003eWear to exposed areas reveals red to copper-coloured alloy beneath the pale surface. Under magnification, the sculpture shows hand chasing, filing and irregular finishing around the base rim, together with a comparatively rough interior casting skin. These are useful construction observations because they preserve stages of manufacture that are less visible on the finished exterior.\u003c\/p\u003e\u003cp\u003eThe interior also retains textile fibres, cord, paper-like and other organic residues associated with the object's long ritual history. Such material is documented as found and is not treated by itself as proof of a specific date.\u003c\/p\u003e\u003ch2\u003eCondition\u003c\/h2\u003e\u003cp\u003eThe surface shows age-related rubbing, local losses to the silvered finish, dark deposits and small irregularities consistent with long handling and use. A copper-toned reinforcement or plug is visible externally. The sculpture has not been cosmetically restored to a uniform appearance; the layered surface remains part of its historical character.\u003c\/p\u003e\u003ch2\u003eResearch note\u003c\/h2\u003e\u003cp\u003eOur assessment separates observation from attribution. Construction, surface wear, inlay, interior remains and stylistic comparison all contribute to the present interpretation, but none is presented as a stand-alone authentication test. This approach preserves both the significance of the sculpture and the uncertainty that belongs to responsible object research.\u003c\/p\u003e\u003cp\u003e\u003cstrong\u003eWorldwide insured shipping is available.\u003c\/strong\u003e Packing and transport are arranged according to the weight and value of the object.\u003c\/p\u003e","brand":"Buddha-Statues.com","offers":[{"title":"Default Title","offer_id":63361438024010,"sku":"708","price":190000.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1073\/1693\/7034\/files\/antique-silvered-medicine-buddha-newar-front-view.jpg?v=1787859417"}],"url":"https:\/\/buddha-statues.com\/collections\/masterpieces.oembed","provider":"buddha-statues.com","version":"1.0","type":"link"}