Niño Jesús bendiciendo in the Museo de América in Madrid is an ivory statuette that was made in the Philippines in the seventeenth century. It features an unusual iconography that fuses Christ Child as the Salvator Mundi and the Instruments of the Passion, which originates from an engraving by Jan Wierix. Despite its close relationship to the Flemish print, the work cannot be considered a mere copy of a European original. This essay argues for the artistic significance of Niño Jesús in the tradition of Philippine art by examining the local historical context in which the work was created. By comparing Niño Jesús with other similar sculptures found around the world, this essay also explores the implications of the global circulation of ivories along maritime trade routes in the early modern period.