In the 12th century, Nepalese artisans made a 93cm gilt-copper Manjushri statue; after Geneva, New York and Asian collections, it sold for about Rs 166 crore in 2026, setting a Himalayan gilt-bronze auction record

Image sourced from Christies

From every curve to every carving, such is the intricacy of this 12th-century Manjushri sculpture from Nepal. Standing nearly a metre tall, this gilded copper figure of Manjushri, the Bodhisattva of Transcendent Wisdom, is a remarkable example of the artistic excellence of the Kathmandu Valley. Created by Newar artisans at a time when Nepal was emerging as one of the most important centres of Buddhist art, the sculpture has travelled across continents and collections over the centuries. Now in 2026, it is making headlines once again, selling for approximately ₹166 crore at auction and setting a record for Himalayan gilt-bronze art.But what makes this sculpture worth such an extraordinary sum is not just its age, size or the gold that covers its surface. It is a rare surviving example of a sculptural tradition that helped shape Buddhist art across the Himalayas and beyond.

The artistry of Newar craftsmanship

The 93cm sculpture depicts Manjushri, a bodhisattva associated with wisdom and enlightenment in Buddhist tradition. He is identified by the Prajnaparamita Sutra, the Buddhist scripture representing transcendent wisdom, placed upon a flowering lotus at his shoulder. The figure is dressed in elaborate jewellery, including necklaces, armlets, bracelets and a sacred thread, all carefully detailed against the smooth, gilded copper surface.Look closely at the sculpture’s remarkable proportions: the elongated body, slender waist, gently curved hips and flowing silhouette give it an almost weightless appearance, despite its imposing size. The complex 3 bend pose, called tribhanga, creates an impression of movement, rendering the figure less an inanimate object and more a living form, moving like poetry in front of us. Its gilt surface used to shimmer in the flickering light of temple lamps, giving the bodhisattva an almost ethereal quality.These characteristics are the hallmark of the Newar school of sculpture, a tradition that was built by the Newar artisans of the Kathmandu Valley of Nepal. These craftsmen are revered as some of the best metalworkers of the Buddhist world from the 9-12th centuries. They were also adept at the subtle art of mercury gilding, which gave the sculptures their brilliant golden finish.What set Newar craftsmanship apart, however, was its ability to fuse the classical ideals of Indian art with a distinctly Nepalese sense of proportion, ornamentation and form. Their sculptures often showed Buddhist deities as young princely figures, adorned with elaborate jewellery but with a clear spiritual presence. Of course, the Manjushri showcases their craftsmanship beautifully.

How Nepalese artisans influenced Buddhist art across Asia

The importance of Newar craftsmanship is not just limited to Nepal. Geographically positioned between the Buddhist centres of northern India and Tibet, the Kathmandu Valley became an important centre for preserving and developing Buddhist artistic traditions.Between the 10th and 12th centuries, Tibet experienced a renewed expansion of Buddhist institutions, a period known as the Later Diffusion of Buddhism. The construction and restoration of monasteries created a growing demand for sacred sculptures, and Nepalese artisans were particularly well placed to fulfil it. Their ability to produce monumental gilt-copper figures made their work highly sought after by Tibetan patrons.But this exchange was not just about completed sculptures moving across the Himalayas. Newar craftsmen also went to Tibet, teaching local artists their skills in metal casting, gilding and sculptural proportions. These techniques were eventually incorporated into Tibetan art, creating a shared visual language strongly influenced by Nepalese aesthetics.The influence eventually reached the imperial courts of China. Anige, a celebrated Nepalese artist, in fact, worked under the patronage of the Yuan dynasty in the 13th century. He and the artists associated with him helped establish a Himalayan-inspired style of Buddhist art at the Mongol court. Its influence continued through the Yuan, Ming and Qing dynasties, particularly in the proportions, jewellery and refined modelling of sculptures made for Tibetan Buddhist patrons.

A rare sculpture with an extraordinary history

The Manjushri’s importance is also reflected in the relatively small number of comparable sculptures that have survived. Some Nepalese-style monumental bodhisattvas remain in important Tibetan religious institutions, including Sera Monastery, the Potala Palace, Jokhang Temple and Shalu Monastery. Others are preserved in international museums, including the British Museum, the Victoria and Albert Museum and the Norton Simon Museum of Art in California.Sculptures of this age and scale are particularly rare. While smaller Nepalese gilt-copper figures can be found in museum collections and monastery treasuries, few retain the combination of monumental proportions, intricate detailing and exceptional craftsmanship seen in this Manjushri.Its own history is equally interesting. According to Christie’s, the sculpture belonged to the George Ortiz Collection in Geneva by 2002, before passing through an important private collection in New York and the Asian art dealership Carlton Rochell Asian Art in 2017. It later entered a private Asian collection. It was also exhibited at the Art Institute of Chicago in 2003 and at the Zhiguan Museum of Fine Art in Beijing in 2018, bringing the centuries-old work before international audiences.On 30 October 2026, the sculpture went under the hammer at Christie’s Hong Kong as part of Awakening Wisdom: Masterpieces of Buddhist Art from a Private Asian Collection. It sold for HK$137.35 million, approximately Rs 166 crore, setting a world auction record for a Himalayan gilt-bronze sculpture.The Manjushri is a reminder of the artistic legacy of the Kathmandu Valley beyond its extraordinary auction price. It was produced nearly 9 centuries ago, an era when Nepalese artists contributed to the visual vocabulary of Buddhist art in Tibet and China. Much more than an expensive antiquity, its survival, remarkable craftsmanship and journey through international collections make it much more than an expensive antiquity. It is a piece of Nepal’s artistic history, one that continues to illuminate the influence of Newar craftsmen on the wider Buddhist world.