For the first time this season, Christie’s brought its Indian, Himalayan and Southeast Asian Art category to Hong Kong, under the leadership of newly appointed global head Edward Wilkinson. The inaugural sale took place on the afternoon of 3 November, pulling in nearly HK$78 million (US$10.1 million) in total.
The star of the show was a newly reattributed figure of Avalokiteshvara, from 13-14th century Dadu (modern Beijing), the captial of the Yuan dyansty. Consigned by a Taiwanese collector, the courtly sculpture had already stirred up buzz ahead of the auction and ended up fetching HK$24.9 million (US$3.2 million) with premium – more than double its last sale price at Christie’s New York in 2008, where it brought in around US$1.05 million.
The winning bid came in by phone, placed by Ada Ong (Deputy Chairman, Asia Pacific and Chairman, Taiwan) – hinting that the buyer may be another prominent Taiwanese collector.
Lot 2027 | An imperial gilt copper alloy figure of Avalokiteshvara
Yuan dynasty, late 13th/early 14th century
Height: 31 cm
Provenance (Supplemented by The Value):
- Mayuyama & Company, Ltd., Tokyo, mid 1960s
- Ellsworth and Goldie, New York, before 1971
- Christian Humann, Pan-Asian Collection, before 1977
- Christie's New York, 2 June 1989, lot 110
- Private West Coast Collection
- Christie's New York, 21 March 2008, lot 616 (Sold: US$1,049,000)
- Private Asian Collection
Estimate: HK$20,000,000 - 30,000,000
Hammer Price: HK$20,000,000
Sold: HK$24,900,000
The seated figure of Avalokiteshvara – the Bodhisattva of compassion – comes with a well-documented provenance, tracing back to the 1960s, when it was held by a prominent Japanese dealer. It later entered the collections of two towering figures in the Asian art world: Robert Ellsworth, often referred to as the “Godfather of Asian art” in New York, and Christian Humann, a financier and collector whose influential “Pan-Asian Collection” helped shape the field.
The sculpture appeared at Christie’s New York auctions in both 1989 and 2008, but despite passing through such illustrious hands, its true origins remained a matter of scholarly debate for decades – was it best understood within the context of Himalayan art, or did it belong more broadly to the sphere of Asian Buddhist sculpture? In 2008, it was catalogued as Tibetan; earlier still, it had been considered a later-period piece.
Its recent reattribution as a Yuan dynasty imperial sculpture from Dadu (present-day Beijing) is the result of over ten years of fresh academic research – an effort that has finally placed the work within its likely historical and cultural context.
Speaking during a pre-sale panel, Edward Wilkinson recalled that he had lost track of the sculpture after the 2008 auction. It wasn’t until he joined Christie’s that Ruben Lien, senior specialist in Chinese ceramics and works of art, introduced him to a Taiwanese client – who, as it turned out, was the current owner of this remarkable piece.
Ada Ong won the lot for her client
Edward Wilkinson, wielding the gavel for the inaugural auction
Blending the visual languages of Pala, Newar, and classical Chinese art, this figure introduced a sculptural style that was entirely new – unprecedented in Chinese art history. It went on to shape Buddhist sculpture in both China and Tibet for the next two centuries, and likely served as a prototype for the celebrated Yongle-period court figures that followed.
This cultural fusion reached its height during the reign of Khubilai Khan, the founder of the Yuan, when the imperial workshops of his court became a meeting ground for artists trained in different traditions as the Mongol Empire stretched across Asia.
A central figure in this convergence was Aniko (also known as Anige, 1245–1306), a master sculptor from Nepal, who arrived at the Yuan court in 1262, brought by the Tibetan monk Chögyal Phagpa. Appointed head of the imperial workshops – a groundbreaking role for a foreign artist – Aniko helped forge a style that merged the ornate detail of Himalayan art with the quiet restraint of Chinese sculpture.
While this figure can’t be attributed to a specific hand, its refinement suggests the work of a master – possibly Aniko himself, or a leading artist from his circle.
Seated in lalitāsana, or “royal ease,” the bodhisattva rests one leg pendant on a lotus pedestal, the other folded atop the throne – a posture that conveys calm, readiness, and compassion.
The plump cheeks, small mouth with well-defined lips, and finely inset urna reflect the Newar aesthetic, setting this face apart from earlier Tibetan and Pala traditions. The forelocks, arranged in radiating curls, and the double-banded hair across the back of the head show the kind of meticulous detail typical of Yuan court commissions.
Elements of the figure’s adornment – such as the strap over the chignon, five-leaf crown, triple-strand necklace, and armbands – draw on 12th-13th century Pala models, transmitted through Tibet and refined by Newar artisans. The crown’s central pendant, with a rectangular gem framed by six insets within a triangular border, mirrors the foliate scrolls that decorate the crown leaves.
The long necklace, composed of double strands of pearls fastened with quatrefoil turquoise-set clasps, cascades across the chest and ends in a trefoil gem at the navel. Around the hips, pearl swags drape over a finely incised lower garment, whose textile pattern echoes Yuan dynasty fabrics preserved in collections such as the Cleveland Museum of Art.
A gilt-bronze Manjushri Bodhisattva figure from the 9th year of the Dade era (1305), now preserved in the Beijing Palace Museum
Ming Yongle gilt-bronze Avalokiteshvara figure, housed in Potala Palace, Tibet
Lot 2020 | A gilt copper figure of Shakyamuni Buddha
Nepal, Licchavi period, circa 8th century
Height: 26.7 cm
Provenance:
- Private European Collector
- Sotheby's New York, 26 March 1998, lot 83
- Distinguished Private European Collection
Estimate: HK$5,000,000 - 7,000,000
Hammer Price: HK$7,500,000
Sold: HK$9,525,000
When it comes to Nepalese sculpture, most collectors are familiar with the Malla dynasty (13th-18th century), known for its richly ornamented, gem-encrusted works. But this Buddha belongs to an earlier era: the Licchavi dynasty (5th-8th century), often described as the first golden age of Nepalese classical culture, with the aesthetic leans toward understated elegance.
That restraint is evident in the figure’s attire: a simple, tightly fitted, diaphanous robe, delineated only by thick hemlines visible across the chest, ankles, and beneath the left arm. In striking contrast, the figure is seated atop an elaborate cushion, richly adorned with pearl-edged roundels enclosing anthropomorphic and floral motifs.
In a 1998 auction, the sculpture was misattributed to the 10th-11th century, but two decades of additional research – particularly into the design of the pedestal – led Christie’s to revise the dating to the 7th-8th century.
The cushion’s patterns closely resemble Sogdian textiles from the 7th to 9th centuries, and echo silk fragments held in the Cleveland Museum of Art. Similar motifs appear in other Himalayan works, such as the well-known 8th-century Shakyamuni Buddha with Adorants on Mt. Meruin the Norton Simon Museum, California.
Another subtle clue lies in the sculpture’s weight: though it appears liftable at first glance, it is solid cast and unexpectedly heavy – a characteristic typical of early bronze casting.
For a sculpture over 1,000 years old, the preservation of its original gilding is exceptionally rare. Most comparable works have lost their gold through centuries of devotional use and ritual handling.
Lot 2022 | Attributed to the Tenth Karmapa, Choying Dorje | A thangka of Shakyamuni's parinirvana, distemper on silk
China, Yunnan province or Eastern Tibet, late 17th century
62.3 x 42.2 cm
Provenance:
- Sotheby Parke Bernet, New York, 14 and 15 March, 1979, lot 426
- Bonhams, New York, 14 March 2016, lot 34
- Alsop Collection
Estimate: HK$8,000,000 - 12,000,000
Hammer Price: HK$7,500,000
Sold: HK$9,525,000
Another rediscovered treasure in the sale was a thangka painting depicting the Buddha’s parinirvana, his final nirvana. When it first appeared at auction in New York in 1979, it still retained its original silk mountings, which included rare kesi tapestry panels depicting cranes.
At the time, attention focused almost entirely on the kesi, while the painting itself was largely overlooked. After the sale, the tapestry panel was carefully removed and preserved, and the thangka faded into obscurity.
It resurfaced in the early 2000s at a small auction in London. A friend brought it to Edward Wilkinson, who was then researching the work of Chöying Dorje, the 10th Karmapa. Upon seeing it, Wilkinson was stunned – the stylistic and technical features unmistakably pointed to Dorje’s hand.
Widely regarded as a visionary nonconformist, Chöying Dorje occupies a singular place in Tibetan art history. A true polymath, he composed poetry, sculpted in metal, carved wood, and even wove textiles – but it is his painting that draws the greatest admiration.
A pivotal shift in his artistic career occurred during a two-decade exile in Yunnan, following political upheaval. There, he seemed to have broken with Tibetan conventions and embraced Han Chinese styles. In this parinirvana thangka, the facial and hand contours are rendered in quick, broken lines – a hallmark of the Chinese “tremulous brush” technique.
The composition shows the Buddha reclining on a richly decorated light green plinth, surrounded by grieving followers. Scenes of his cremation and the distribution of relics unfold in the upper registers. Dorje’s distinctive hand is evident in the whimsical, almost naïve figural forms: elongated heads, fleshy faces, and tiny red lips – a clear departure from conventional Tibetan aesthetics.
According to historical records, Dorje painted two sets of thangkas illustrating the Twelve Deeds of the Buddha between 1653 and 1654, while in exile. This parinirvana scene is the only known surviving composition from those original series.
Lot 2023 | Attributed to the Tenth Karmapa, Choying Dorje | A thangka of garwa nagpo, distemper and gold on silk
Tibet or Lithung, circa 1655
94 x 38 cm
Provenance:
- Private American Collection, before 2004
- Distinguished European Collection
Estimate: HK$6,500,000 - 9,500,000
Hammer Price: HK$6,000,000
Sold: HK$7,620,000
Also included in the sale was a black-ground thangka, or nag thang, by Chöying Dorje – a visual mode typically reserved for depicting wrathful deities.
The deity shown here is the Oath-Bound Protector (Damchen). Particularly noteworthy is Dorje’s use of color and brush technique. Pigment is applied in a manner reminiscent of Chinese ink painting, with subtle tonal shifts achieved by layering pale, creamy hues over slightly darker underlayers.
The palette, dominated by deep blacks, rusty reds, and warm browns, creates a striking visual intensity. Ethereal, atmospheric effects lend the painting an almost dreamlike, otherworldly quality, while the interplay of opaque and translucent forms, warm and cool tones, and movement and stillness produces a surreal, nearly cinematic tension across the composition.
Edward Wilkinson is a prominent figure in the field of Himalayan art. Formerly the global department head at Bonhams, his recent appointment at Christie’s has sent ripples through the art world and collecting circles alike.
To mark this new chapter, The Value caught up with Wilkinson just days before the sale – here’s our interview, alongside highlights from this auction.
Q: When Christie's announced your appointment this year, it was quite an unexpected development. After nearly a decade at Bonhams, what prompted your decision to leave? And what was it about Christie's that drew you in?
I enjoyed a great run at Bonhams, but it was time to move on. I took the opportunity to take a break from the hectic schedule of auctions and consider the next step. It was at this time that I was approached by Christie’s, who offered me the platform to rebuild the department and the opportunity to expand the reach of our field.
Q: Within the Asian art market, Himalayan art receives relatively little discussion compared to Chinese works of Art or Chinese painting and calligraphy. When you first entered the auction world, what was the Himalayan art market like?
In the late 1990s when I first started, the market was not very transparent, as in limited access to view sales online, so there were great of opportunities for collectors in different sale locations. At that point, the market was mostly dominated by European and American-based collectors, but the dedicated collectors from Taipei were already a considerable force in the market. While the collectors may have been more interested in earlier paintings (11th-15th century) and sculpture (7th-15th century), the focus was always on quality.
Lot 2033 | A copper alloy panel of Palden Lhamo
Central Tibet, Densatil, circa 1386
Height: 56 cm
Provenance:
- Important Swiss Collection, before 1995
Estimate: HK$1,600,000 - 2,400,000
Hammer Price: HK$3,200,000
Sold: HK$4,064,000
Lot 2034 | A copper alloy panel of Bhumidevi Dridha
Central Tibet, Densatil monastery, circa 1407-08
Height: 53 cm
Provenance:
- Important Swiss Collection, before 1995
Estimate: HK$2,400,000 - 4,000,000
Hammer Price: HK$2,500,000
Sold: HK$3,175,000
Lot 2014 | A gilt copper alloy figure Avalokiteshvara
Nepal, Khasa Malla Kingdom, 13th/14th century
Height: 23.8 cm
Provenance:
- William H. Wolff, New York before 1965
- Robert and Bernice Dickes Collection New York
- Carlton Rochell Ltd, 2010
- Private Californian Collection
- Bonhams, New York, 16 March 2015, lot 5
- Private Collection New York
Estimate: HK$2,500,000 - 3,500,000
Hammer Price: HK$2,500,000
Sold: HK$3,175,000
Q: New York was the principal hub for Himalayan art auctions for a considerable period. Why were American collectors so drawn to this field? And when did Asian collectors begin to show serious interest in Himalayan art?
The market took off in America due to interest by museums in building up their holdings of this area of Asian Art. Where collections of Chinese and Japanese collections were already well established, Himalayan Art provided a new opportunity.
This had an immediate impact on collectors, particularly patrons of the museums who supported acquisitions. In parallel, collectors from Taiwan were also actively engaged and started to form important collections in the 1980s, while Mainland collectors became a force in the last 20 years.
Q: What initially sparked your interest in Himalayan art? And how did you go about acquiring the highly specialized knowledge required in this field?
My interest in Himalayan art came through trips to Kashmir and Nepal in the late 1980s, where I was exposed to the culture and incredible people of the region. However, it was not until I arrived in New York to work with Sotheby’s when I met Carlton Rochell and David Weldon – I had the good fortune to work alongside them and learned how to ‘see’ the art.
The key has been to develop relationships with leading experts, collectors, and academics like Dr. Pratapaditya Pal, whom I was able to engage and learn a great deal – but it takes time. My enthusiasm for the field and the related areas of textiles, ethnographic art, and classical Indian painting has also help to build an understanding of the art from a much broader perspective.
Lot 2015 | A gilt copper alloy figure of Mahottara Heruka
Western Nepal, possibly Khasa Malla, circa 13th century
Height: 16.6 cm
Provenance:
- Belgian Private Collector
- Sotheby’s Paris, 12 December 2024, lot 6
Estimate: HK$2,500,000 - 3,000,000
Hammer Price: HK$2,200,000
Sold: HK$2,794,000
Lot 2011 | A gilt copper alloy figure of Shakyamuni Buddha
Nepal, circa 13th century
Height: 11.4 cm
Provenance:
- Philip Goldman, London
- Sotheby's New York, 21 March 2002, lot 50.
- Alsop Family Collection
Estimate: HK$1,000,000 - 1,500,000
Hammer Price: HK$2,100,000
Sold: HK$2,667,000
Lot 2026 | A silver copper and gold inlaid brass figure of Sitatapatra
Tibet, 13th century
Height: 17.1 cm
Provenance:
- Sotheby’s New York, 30 November 1994, lot 84
- Private Swiss Collection
Estimate: HK$1,000,000 - 1,500,000
Hammer Price: HK$1,500,000
Sold: HK$1,905,000
Q: Due to religious context, Chinese collectors often categorize someone simply as a "Buddhist sculpture collector" rather than making strict distinctions between Himalayan and Chinese Buddhist art. How do you see the aesthetic sensibilities and market dynamics of these two areas—what similarities and differences do you observe?
There is ample evidence of the cross-cultural exchange across the Himalayan plateau, India, Central Asia, and China spanning 2,000 years. So the lines are blurred in many respects, but there are distinctive regional styles that are easy to identify.
The study of Himalayan Buddhist art is still evolving, and the connection between different dynasties and empires is still being unpacked. Also, the movement of artists, such as the Newari artists of the Kathmandu Valley, and their lasting legacy in different regions is still being debated today.
Q: Having worked in the industry for three decades, what differences do you see between younger collectors and the previous generation?
In general, the earlier generation of collectors was guided by in-person experience in the Himalayan region and was closely connected to the political upheaval of the time. For them, the process of building a collection was slow and methodical.
Whereas the new generation of collectors is benefiting from the digital transparency of the market and has the opportunity to engage in sales around the world every day of the year. What is true of all collectors in our field is that they are emotionally connected and have a passion for the visual complexity of the art that is required in our niche field.
Lot 2002 | A silver inlaid brass figure of Buddha
Kashmir, circa 8th century
Height: 14.1 cm
Provenance:
- Sotheby’s New York, 28 October 1991, lot 125
- Distinguished European Collection
Estimate: HK$650,000 - 800,000
Hammer Price: HK$1,100,000
Sold: HK$1,397,000
Lot 2029 | A gilt copper alloy shrine of Chintamani Lokesvara
Nepal, dated 1705
Height: 22 cm
Provenance:
- Private French Collection, acquired in Paris, 1970s
- Bonhams, Hong Kong, 7 October 2019, lot 938
- Nyingjei Lam Collection
Estimate: HK$1,000,000 - 1,500,000
Hammer Price: HK$1,000,000
Sold: HK$1,270,000
Lot 2003 | A silver and copper inlaid brass figure of Tara
Northeast India, Pala period, circa 11th century
Height: 6.6 cm
Provenance:
- Nyingjei Lam Collection, before 1990
Estimate: HK$600,000 - 800,000
Hammer Price: HK$820,000
Sold: HK$1,041,400
Auction Details:
Auction House: Christie's Hong Kong
Sale: Indian, Himalayan And Southeast Asian Art
Date: 3 November 2025
Number of Lots: 40
Sold: 19
Unsold: 21
Sale Rate: 47.5%
Sale Total: HK$77,935,200