14th century, Nepal, Avalokiteshvara, gilt copper alloy and gemstones, at the Norton Simon Museum (USA).
In previous posts we saw him mainly with his right hand in the varada mudra. This is a variant (with broken feet, unfortunately) with the hand doing the abhaya mudra, and displaying an incised rhombus with a circle in it (diamond and lotus symbols). There is no urna on his forehead.
The mythical creature on the central panel of his crown is likely to be Kirtimukha, topped with a flower inlaid with (some missing) cabochons.
His dhoti is incised with a large floral motif and held in place with a belt studded with clear gemstones forming a large flower. His broad and tight-fitting sash is knotted above knee level.
Unlike the Newari sculptures made in the Kathmandu Valley, this image is more rigid, has marked knee caps, a plain dhoti and lapis lazuli powder in its hair.
The deity holds a multi-layered lotus flower only partly open. The central panel of his crown is decorated with Kirtimukha and gemstones. There is a rectangular urna on his forehead.
On this example, also with Kirtimukha and gemstones on his crown, we will notice the unusual floral earrings used as hoops.
There is an incised rhombus and a small gem in the palm of his hand. He wears a short dhoti decorated with an incised floral motif and held in place with the usual belt and sash knotted to one side, and princely jewellery including rings on his left hand.
This is almost certainly Avalokiteshvara although the absence of a lotus and the fact that his left hand is doing the tarjani mudra leaves room for doubt as to whether this is the padmapani form.
But the right hand is held in the varada mudra and displays an incised diamond and a small gem, as on the previous image.