This statue is in the style of Zanabazar, which is the crystallization of art created in the Mongolian region in theQing Dynasty. The first Jebtsundamba Hutuktu Zanabazar is the most important religious leader in Mongolian history, the living Buddha most admired by Emperor Kangxi, and the founder of Mongolian Zanabazar style statues. He was born in the family of Shetu Khan Gonpodorji in Khalkha Mongolia. He is the great-grandson of Abadai Khan. In the sixth year of Shunzhi (1649) of theQing Dynasty, Jebtsundamba went to Tibet to seek the Dharma, and was named "Jebtsundamba Hutuktu". During his first trip to Tibet in 1649, he met the 5th Dalai Lama, Luosang Gyatso, and the 4th Panchen Lama, Choji Jiangsen. While gaining extraordinary insights in Buddhism, he also gained deep appreciation for the essence of ancient Buddhist art aesthetics. realize. Before leaving Tibet in 1651, he summoned fifty skilled craftsmen with profound insights to go to Mongolia and created a glorious chapter of Zanabazar's artistic style that will be recorded in the annals of history. The whole body of this auction is gilded, the golden color is bright and pleasing to the eye, the proportions of the characters are accurate, the shape is tall and straight, the body expression is complete, and the posture gives people a sense of youth and fitness. It has a distinct Mongolian Zanabazar style and is of great artistic appreciation value. It can also be confirmed from the workmanship of this statue that only the early Khalkha Mongolian statues have such a regular and graceful shape. "The Continuation" was produced according to the measurement standards, and it did not appear dull and monotonous because of formal constraints. Instead, because of the precise proportions, it reflected a sense of solemnity and sacredness that was different from the world. The rosary in the hand of the Buddha statue and the wreath around the body have a very prominent three-dimensional effect, giving people the impression that they are really hanging on the body. This is because the Zapai statue adopts independent casting and welding techniques to obtain such an exquisite effect. Another characteristic of the early statues of Zhapai style is that the gilding is extremely exquisite. It is said that seven or nine gilding is required, which makes the gold layer very thick. In addition to careful grinding, the gold surface is as smooth as a mirror. , the illusion is made of pure gold. Due to its age, a small part of the lacquered gold on Guanyin's face fell off naturally, exposing the gold at the bottom. Wearing a five-leaf crown on the head, a high bun on the top of the head, the rest of the hair hangs down on the shoulders, the ribbons around the ears are flying, the ears are drooping rings, the face is round, and the expression is peaceful. She wears a long skirt, a treasure belt around her waist, and bead decorations under the belt; a collar and a beaded wreath are worn on the chest, and bracelets are worn on the hands and feet. Both the silk and the monk's skirt are expressed in a realistic way, which is vivid and natural, giving people the soft texture of silk fabric. Sitting cross-legged on the lotus throne, the hands are clasped in front of the chest as if praying, and the remaining hands are raised on both sides of the body, with a rosary in the right hand and a lotus in the left. The lotus pedestal is beautiful and generous in shape, exquisite in workmanship, wide and thick, and the upward and downward lotus petals are symmetrically distributed around the lotus pedestal. The upper, middle and lower edges are each decorated with a circle of bead patterns. With realistic technique, exquisite workmanship, vivid image, solemn appearance, huge volume and first-class appearance, it can be called an exquisite ancient sculpture art treasure. 此尊造像為扎納巴扎爾風格，是清代蒙古地區締造出的藝術結晶。一世哲布尊丹巴呼圖克圖·扎納巴扎爾為蒙古歷史上最重要的宗教領袖、最受康熙皇帝崇信的活佛、蒙古扎納巴扎爾風格造像的開創者。他出生於喀爾喀蒙古謝圖汗袞布多爾濟家，是阿巴岱汗的曾孫，四歲受沙彌戒，取法名札那巴札爾。清順治（1649）六年哲布尊丹巴入藏求法，並受封為「哲布尊丹巴呼圖克圖」。 1649 年首次藏地之行時，謁見了五世達賴喇嘛羅桑嘉措和四世班禪卻吉江森，在佛學上得到殊勝見地的同時，於古代佛教藝術審美的精髓，也得到至深的體悟。當1651 年離開藏地前，他召集了五十名具備真知灼見的能工巧匠遠赴蒙古，締造了載入史冊的紮那巴扎爾藝術風格的輝煌篇章。本拍品通體鎏金，金色亮麗悅目，人物比例精準，造型挺拔，肌體表達圓滿，體態給人以年輕健美之感，具有鮮明的蒙古扎那巴扎爾風格，極具藝術欣賞價值。從這尊造像的做工上也可以得到印證，只有屬於早期喀爾喀蒙古造像，才有如此規整優美的造型，它身體柔軟富有動感，無論開臉方式還是身姿比例，都嚴格遵守《時輪根本續》釐定的度量標準製作，又沒有因為形式化的約束而出現呆板單調的感覺，反而因為精準的比例，體現出迥異於世間的莊嚴神聖感。佛像手中的念珠、周身的瓔珞，立體感非常突出，給人感覺真是披掛在身，這是由於扎派造像採取了獨立鑲鑄和焊接的工藝方式，才能得到如此精美的效果。扎派風格早期造像還有一個特徵，就是鎏金極為考究，據說需要鎏金七道或九道，使得金層甚為厚重，加之仔細研磨，金面光潔如鏡，上手之時甚至會令人恍惚，錯覺為純金所造。觀音臉部泥金，因其年代久遠，少許部分自然脫落，露出底部鎏金。頭戴五葉冠，頭頂束高髮髻，餘發垂肩，耳際繒帶飛揚，耳下垂圓環，面相圓潤，神態寧靜。下身著長裙，腰間束寶帶，腰帶下綴有聯珠裝飾；胸前佩項圈和聯珠式瓔珞，手足戴釧鐲。帔帛及僧裙皆用寫實手法表現，生動自然，給人以絲織物的柔軟質感。跏趺端坐於蓮花寶座上，雙手於胸前合掌作祈禱狀，餘二手舉於身體兩側，右手持念珠，左手持蓮花。蓮花座造型優美大方，做工極其講究，寬大厚實，仰覆蓮花瓣上下對稱分佈，環繞蓮座一周，上中下邊沿各飾一周聯珠紋，蓮瓣寬肥飽滿，整體造型寬大、氣勢恢宏，而且手法寫實、工藝精湛，形像生動，法相莊嚴，體量碩大，品相一流，堪稱一件精美絕倫的古代雕塑藝術珍品。