A substantial Himalayan image of Bhaisajyaguru, the Medicine Buddha, 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.
Object details
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Subject: Bhaisajyaguru / Medicine Buddha
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Current attribution: Newar workshop tradition, probably Kathmandu Valley, likely made for a Tibetan Buddhist context
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Working date: ca. 1450–1600
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Material: heavy copper-alloy bronze with silvered surface and metal inlays
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Height: 40 cm
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Width: 25 cm
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Weight: 5,425 g
Why this piece matters
The 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.
The 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.
Attribution and style
The current working attribution places the image within the Newar metalworking tradition 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.
At present we use a cautious date range of ca. 1450–1600. 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.
Surface and construction
Wear 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.
The 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.
Condition
The 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.
Research note
Our 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.
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