When it comes to Himalayan art, Ulrich von Schroeder is undoubtedly a leading figure.
The Swiss scholar’s remarkable academic achievements have earned him recognition not only in the West, but also across Asia. When the Palace Museum in Beijing established its Tibetan Buddhist Research Center a few years ago, it adopted Schroeder’s entire body of published work as core reference material. Meanwhile, his personal collection—assembled over more than half a century—is regarded as one of the finest of its kind anywhere in the world.
With such credentials, one might imagine a stern, academic figure—reserved and formal. But Schroeder’s spirit is, in fact, surprisingly romantic. In his youth, he set off alone for faraway Eastern lands, camera slung over his shoulder, pedaling through Nepal on a bicycle to capture rare images of ancient sculptures. It was this journey that sparked his lifelong passion for Himalayan art.
This autumn, Bonhams Hong Kong presents a special single-owner sale featuring works from Schroeder’s celebrated collection. On this occasion, The Value spoke with Dora Tan—department head and specialist—who shared insights into Schroeder’s remarkable journey and introduced a selection of highlights from the upcoming auction.
Dora Tan | Head of Sale, Specialist, Indian, Himalayan & Southeast Asian Arts, Bonhams
Schroeder is a recognized authority on Himalayan art—a name known across both academic and collecting circles. While his remarkable life could easily fill days of conversation, it can also be distilled into a single word he often used himself: document.
Over the decades, Schroeder photographed countless Himalayan sculptures and Nepalese stone carvings, meticulously cataloguing them by date and style before publishing his findings. Thanks to his efforts, these sacred images are no longer dim silhouettes glimpsed in temple halls, nor weathered carvings fading into the bustle of Nepalese streets. They have become clearly defined objects, anchored in both time and place.
Through Schroeder’s tireless dedication, the once-fragmented history of Himalayan art has taken shape as a sweeping visual and scholarly panorama. And it all began with a journey more than sixty years ago.
Photographed by Schroeder in 1965 at the renowned Golden Temple in the Kathmandu Valley
Today, Schroeder is an internationally renowned scholar and collector
In 1965, a 22-year-old Schroeder—then a free-spirited hippie—rode through the streets of Nepal on a bicycle, his beloved Bronica 6×6 camera in hand, capturing one astonishing sculpture after another.
In this distant, unfamiliar land, he found both his muse and his life’s calling: Himalayan art. From that moment on, he would devote himself entirely to documenting and studying this extraordinary cultural legacy.
Schroeder once said that documentation is about passing the past onto the future. His publications stand today as one of the greatest gifts he could offer back to Nepal.
Lot 827 | A gilt copper alloy figure of Durga subduing the buffalo demon
Nepal, Three Malla Kingdoms period, 1550–1650 CE
Height: 32 cm
Provenance:
- Acquired in 2003
- Twenty-two years in the Collection of Ulrich von Schroeder
Estimate: HK$4,500,000 - 6,500,000
Understanding Nepal’s deep significance to Ulrich von Schroeder, it’s easy to see why he was especially drawn to this powerful image of Durga.
Depicted in the act of subduing the buffalo demon, this gilt copper alloy sculpture radiates extraordinary energy. Yet Durga’s face remains serene, almost tender—a striking contrast to the intense physicality of the scene.
Created during the Three Malla Kingdoms period (circa 1550–1650), the work continues to astonish viewers today with its vivid fusion of strength and grace. One imagines the young Schroeder, cycling through the Kathmandu Valley, experiencing the same sense of awe and reverence.
Her distant gaze and composed expression evoke curiosity: why does she not look down at the demon she is vanquishing? The answer lies in the nature of her victory—not one of wrath, but of compassion. Her calm is not indifference, but the serenity of a goddess who acts not out of anger, but to protect all beings. Even at the climax of battle, she remains without triumphalism.
The theme of Durga slaying the buffalo demon has endured across centuries, appearing in both stone and bronze throughout the Himalayan region. In the Kathmandu Valley—where goddess worship flourishes in myriad forms—Durga is among the most revered. Her story first appeared in India’s 6th-century Devi Mahatmya, where she is described as the combined power of the gods and a manifestation of divine feminine strength.
This particular sculpture, while differing from the typical multi-armed forms of the same period, closely resembles a 12th–13th century stone Durga at Cangu Narayana in the Kathmandu Valley. Its strong body and minimalist decoration reflect the Malla period’s preference for robust and powerful forms, while retaining a warmth and softness that complements the theme.
Lot 805 | A silver and copper inlaid copper alloy figure of Avalokiteśvara
Kashmir school in western Tibet, 10th/11th century
Height: 61 cm
Provenance:
- Acquired in London in 1995
- Thirty years in the Collection of Ulrich von Schroeder
Estimate: HK$4,000,000 - 6,000,000
Today’s younger collectors may have more in common with the hippies of Schroeder’s generation than one might expect.
Like those early seekers, we tend to question the dominance of consumerism and materialism. We value introspection, freedom of thought, and aren’t afraid to express bold, individualistic identities. But perhaps more uniquely, many of us share a deep yearning—a desire to experience other cultures and civilizations as if we had lived them ourselves.
For instance, after encountering countless bodhisattva figures from the Wei, Jin, Tang, and Song dynasties, one naturally wonders: what did Buddhism look like before it entered China? This kind of curiosity was on full display when the Gandhara Heritage along the Silk Road exhibition opened at the Palace Museum two years ago—the response was overwhelming.
This large bronze sculpture, standing 60 cm tall, has been in Schroeder’s collection for 30 years, and such early bronzes of this size are extremely rare in private hands.
Scholars believe it was once a major devotional image in a temple of the Guge Kingdom. Around the 10th century, Tibetan art was marked by an openness to external influences, with Kashmiri visual traditions playing a foundational role. The Guge court produced numerous sculptures that reflect this distinct Kashmiri aesthetic.
Kashmiri bodhisattvas are often adorned with floral garlands reaching the ankles, draped across the shoulders and arms. However, this piece features a garland of leaf motifs, not petals. Its crown design, influenced by Sasanian Persian art, exemplifies the diversity and innovation of the time.
The sculpture shares many features with a lotus-hand Avalokiteshvara in the Los Angeles County Museum of Art, including crown, arm bands, garland, and facial features. A stylistically similar large Manjushri is held by the Asia Society Museum in New York (Accession No. 1979.045). Another comparable piece appeared at Christie’s New York, September 15, 2008, Lot 13.
A similar large Manjushri in the Asia Society Museum in New York
Lot 813 | A silver inlaid copper alloy figure of buddha Shakyamuni
Tibet, 12th century
Height: 42 cm
Provenance:
- Acquired in London in 1997
- Twenty-eight years in the Collection of Ulrich von Schroeder
Estimate: HK$2,500,000 - 3,500,000
The first impression this early Shakyamuni Buddha sculpture left on me was its profound simplicity—a calm, commanding presence that radiates both serenity and majesty.
Exceptionally rare and important, this 12th-century Tibetan bronze stands among the most beautiful of its kind. The Buddha sits in vajrasana, his left hand resting in meditation, his right hand reaching down to touch the earth, calling it to witness his enlightenment.
He is draped in a thin monastic robe, with three graceful fan-folds cascading over his left shoulder. A flame-shaped finial crowns the top of his ushnisha, all features rooted in Indian sculptural traditions. Yet the aesthetic is unmistakably Tibetan, from the geometric and beaded patterns along the garments to the regal posture and rich brass tone.
This sculpture belongs to an important artistic tradition: Chidar, or the “Later Diffusion” of Buddhism into Tibet. Between the 10th and 12th centuries, Indian Buddhism spread widely into Tibet. Tibetan monks gathered to translate scriptures and absorb Indian painting and sculpture styles. A nearly identical Shakyamuni Buddha, once in the Zimmermann Collection, is now in the Metropolitan Museum of Art, New York (Accession No. 2012.458).
The example in Metropolitan Museum of Art, New York
Auction Details:
Auction House: Bonhams Hong Kong
Sale: Reverence: Important Himalayan Art from the Collection of Ulrich von Schroeder
Preview Date: 24 - 30 October 2025
Preview Venue: 2/F, Six Pacific Place, Hong Kong
Auction Date: 30 October 2025 | 6 pm (Hong Kong Local Time)
Auction Venue: 10/F, Six Pacific Place, Hong Kong