Late 13th century, Nepal, Avalokiteshvara, gilt copper, private collection, published by John Eskenazi.
This Avalokiteshvara in his padmapani form wears large floral earrings and matching armbands. He holds the stem of a twelve-petal lotus with his left hand and has an incised diamond in the palm of his right hand. Unlike works made in the Kathmandu Valley during the Malla period, he wears a tall Kashmiri-style three-leaf crown (with an effigy of Amitabha on the central panel), has a plain dhoti, prominent knee caps, his hair is dyed with lapis lazuli powder (a common practice in Tibet but not in the Kathmandu Valley) and few or no stones have been used for his jewellery.
This is a very similar image, without the crescent moon below the effigy of Amitabha and with different rosettes. His dhoti is decorated with a stippled floral motif and incisions, the sash is shorter and we can see the stem of the lotus raising from the base below it. No gemstones have been used for his jewellery.
This plain copper figure of large proportions (almost 89 cm) is of an entirely different style, and a good example of Newari skills and sense of beauty, despite the broken lotus, missing stones and lost pedestal.
He has typically Malla-style facial features and wears a very ornate floral crown inlaid with stones and with Kirtimukha on the central panel. His tall Indian-style chignon is topped with a jewel, some loose strands of hair form several rows of curls over his shoulders, his large earrings were once studded with tiny stones.
He wears two necklaces including a row of pearls, a very ornate sacred thread made of beads and flowers inlaid with stones, large rhombus-shaped foliate armbands.
His plain dhoti, is held in place with a belt with a floral design studded with gems (like his bracelets) and a pendant ribbon. It is completed by a broad sash knotted high up at waist level. There is a diamond incised on the palm of his right hand and he wears several rings on his left hand.
Even his toes are exquisitely crafted.
This is a very similar image, probably contemporary, with Kirtimukha on his crown and an effigy of Amitabha on top of his chignon, painted with cold gold like his face and earrings. He also wears the sash knotted high up on the left side and forming a semi-circle below the sacred cord, two features often seen on 13th and 14th century Nepalese works.
His dhoti is incised with a stippled floral motif.