Thai Buddhas, which reached an aesthetic peak during the Sukothai Kingdom (13th–15th century), have more sinuous, elongated bodies and features, while displaying the distinctive Thai invention of the cranial flame, representing the Buddha’s radiant spiritual energy. “In contrast to Himalayan Buddha sculptures, Southeast Asian versions tend to be more abstract and introspective, and they are incredibly spiritual,” explains London dealer John Eskenazi.

The earliest Chinese Buddha sculptures also borrowed from their Indian predecessors, particularly from the humanistic Gandharan style, as images of the Buddha spread along the Silk Route and via the maritime trade. By the end of the Northern Wei dynasty (386–534 A.D.), Buddha sculptures made mostly of limestone had developed a distinctive Chinese character, expressed by Chinese facial features and a more austere aesthetic that emphasized stylized perfection over sensuality, according to New York dealer James Lally. “This transition can be seen in relief carvings from the famous Buddhist cave temples at Longmen and Yungang in northeastern China, which are highly sought after by collectors for their superb artistry,” Lally says.

By the Tang dynasty (618–907 A.D.), which is considered the Golden Age of Chinese sculpture, Buddhas had become more realistic and expressive, whether crafted in stone, bronze or marble. Gilt-bronze Buddhas made during the Ming (1368–1644 A.D.) and Qing (1644–1911 A.D.) dynasties are noted for their beautiful modeling and casting. They are especially prized by collectors when inscribed with Imperial reign marks denoting that they were made during the reign of a particular emperor and signifying the superior quality associated with the Imperial workshops. As in Tibet, Chinese Buddhas take on a variety of sculptural manifestations, ranging from Budai, the fat, happy Buddha of contentment, to Maitreya, Buddha of the Future, who is often depicted with an aureole, or halo-like disc.

The finest Buddha sculptures from Japan were made for temples and shrines during the Heian, Kamakura and Muramachi periods from the eighth to 16th centuries. Crafted mostly of hinoki (cypress) wood that was often lacquered and gilded, they can show a Chinese influence, particularly in the stance or pose of the figure, according to New York dealer Sebastian Izzard. Like many other Japanese art works, they come with storage boxes, which are sometimes inscribed with a provenance (ownership history) or restoration history that can add to their value.

Whatever the specific aesthetic style of any one Buddha sculpture, the finest examples across all cultures share similar attributes. Experts say the most sought-after Buddhas are not only expertly sculpted and cast with a graceful, well-proportioned form and finely executed features but also combine a recognizable humanity with an ineffable spiritual essence. “It’s especially important for a Buddha sculpture to have a beautiful face,” says Rochell. “A face with an intensely moving human expression can convey a vibrant, divine presence that is truly magical and takes your breath away.” Of course, there is always the more elusive, subjective response that a great work of art evokes. “Ultimately, a collector should ask: ‘How does this Buddha move me, personally?’ ‘How does it make me feel?’ There should be a strong emotional connection,” says Jim Marinaccio of New York’s Naga Antiques.

Large-size (30 inches or more) complete figures (whether seated or standing) with the aforementioned attributes tend to bring the highest prices. Additionally, these works are often in excellent condition. A top bronze Buddha sculpture, for example, typically would have a beautiful surface patina that is not flaky or friable, which would cause a loss of detail, and may sometimes display desirable malachite and azurite encrustations, according to New York dealer Nancy Wiener. Additionally, the most valuable gilded bronzes usually have retained most of their original gilding. Buddhas made of wood should not show significant pitting or warping, whether caused by exposure to moisture, woodworm or other harmful environmental effects, while stone Buddhas should not display excessive chipping or surface erosion, which also obscures sculptural detail. Although all ancient artworks typically show losses, Buddha sculptures nevertheless should be as intact as possible. As with other condition pitfalls, missing elements like a hand, ear lobe or lotus base can reduce the value, depending upon the aesthetic quality, rarity and historical significance of the sculpture.

The supply of top-quality ancient Buddha sculptures on the market is diminishing, as savvy collectors increasingly compete with dealers and museums for these examples. “Buddhist art and Buddha sculptures are more popular now than ever,” says Wiener. “The increase in demand is due to both a growing understanding and appreciation of Asian culture and a greater need for spirituality. The Buddha is such an easily recognizable, powerful cultural icon. And you don’t have to be a Buddhist to appreciate a beautiful Buddha sculpture.”