Burma (Myanmar), Ava (Inwa) period, late 17th–early 18th century Carved hardwood with lacquer and gilding Height: 47 cm | Width: 21 cm | Weight: 2.65 kg -The lowest register bears an incised dedicatory inscription in Burmese script. Though partially abraded, legible elements include references to the Buddha (hpaya), faith (saddhā), and merit (kusala), indicating that the image was commissioned as an act of devotional merit-making. The calligraphic style is consistent with late Ava–early Konbaung period inscriptions. This finely carved devotional image represents Shakyamuni Buddha seated in vajrāsana, his right hand extended in bhūmisparśa mudrā, the “earth-touching gesture,” while the left rests in dhyāna upon the lap. The composition conveys composure and spiritual authority through restrained modeling and balanced proportions. The figure is carved from hardwood, hollowed from the reverse in accordance with Burmese consecration practice, and finished with traditional lacquer (thayo) and gilding. Extensive areas of original gilding survive over a dark lacquer ground, displaying age-appropriate craquelure and devotional wear. Stylistic Analysis The physiognomy corresponds closely to late Ava-period sculptural idioms. The face is broad and softly modeled, with rounded cheeks, heavy-lidded almond-shaped eyes, and gently arched brows meeting above a straight, slightly wide nose. The lips retain traces of red pigment, a feature frequently encountered in Burmese lacquered sculpture of the seventeenth and eighteenth centuries. The hair is rendered in dense, tightly packed raised curls, individually articulated and rising to a compact ushnisha surmounted by a flame finial. This granular hair treatment is characteristic of Ava-period carving and differs from the more stylized or elongated coiffures found in contemporaneous Lanna (Northern Thai) images. The robe clings closely to the torso, with incised double-line borders defining the monastic garment. On the reverse, incised decoration articulates the robe panel in a manner consistent with Burmese monastic iconography of the late seventeenth century. The Pedestal and Inscription The tiered pedestal is carved with lotus and foliate registers typical of Ava-period bases. The lotus band is rhythmically articulated yet restrained, lacking the increasingly elaborate ornamentation that characterizes later Konbaung production. The lowest register bears an incised inscription in Burmese script, likely a dedicatory text. Though worn, the calligraphy is consistent with devotional inscriptions executed directly into gilded lacquer surfaces during the Ava and early Konbaung periods. Such inscriptions reinforce the image’s original religious function rather than a later decorative or commercial intent. The large rectangular consecration cavity at the reverse confirms its ritual purpose. The interior surfaces display age-darkening consistent with long enclosure. Construction and Surface The sculpture exhibits pronounced but stable shrinkage fissures throughout the figure and base, consistent with the aging of seasoned hardwood over several centuries. The lacquer layers show organic craquelure and oxidation, and the gilding presents natural high-point wear typical of sustained devotional handling. The underside reveals deep radial cracking and oxidized wood consistent with significant age. Later stabilizing pads have been added discreetly. Art-Historical Context During the Ava (Inwa) period (14th–18th century), Burmese sculptural production in wood flourished alongside bronze casting. Devotional wood images, particularly those finished in lacquer and gold leaf, occupied an essential role in monastic and domestic worship. Late Ava examples are marked by a synthesis of earlier Bagan-derived composure with increasingly naturalistic facial modeling. Compared with earlier Bagan prototypes, the present figure displays fuller facial forms and softer transitions, while maintaining a sobriety that precedes the heightened ornamentation of eighteenth- and nineteenth-century Konbaung works. The relative restraint of the pedestal and the balanced volumetric treatment of the torso support a dating to the late seventeenth or early eighteenth century. Conclusion A substantial and convincing devotional image from late Ava-period Burma, distinguished by its preserved gilding, inscribed base, and strong sculptural presence. The work exemplifies the refinement and devotional integrity of Burmese lacquered wood sculpture at the threshold between the Ava and early Konbaung eras. The large rectangular cavity at the reverse would originally have contained consecration deposits. Extensive age cracks, shrinkage fissures and surface wear are consistent with the material and age. Shipping The figure will be professionally packed and dispatched within three working days, shipped by FedEx with full insurance.