Tibet, Avalokiteshvara – standing (9)

14th century, Tibet, Avalokiteshvara, gilt copper, is or was at the gTsug Lakhang in Lhasa, published by Ulrich von Schroeder.

Avalokiteshvara wears a skirt-like lower garment with an apron-like belt with a beaded edge.

His sash, tightly drawn across the chest, is decorated with a chased floral motif. His five-leaf crown has a simplified Kirtimukha design at the front, large rosettes, flowing ribbons, and discreet stone inlay. There is a small lotus embossed in the palm of his left hand, held in the gesture for bestowing refuge. Two metal loops, on the forearm and arm, once fastened the stem of a lotus, so we are looking at his padmapani form.

The right hand, displaying the gesture of supreme generosity, also has an embossed lotus.

15th century, Tibet, Avalokiteshvara, copper alloy, Rubin Museum of Art, New York (USA).

Another padmapani with a skirt-like lower garment and a sash across his chest.

His garment consists of two layers, both with a broad hem decorated with an incised floral pattern. It is held in place with a festooned belt.

16th century, same as before.

This padmapani wears a short Pala-style festooned belt with lotus-bud pendants over his two-tiered garment.

19th century, Avalokiteshvara, copper alloy, private collection, photo by Koller.

This looks like a copy of a 16th century sculpture at the Pacific Asia Museum (published in a previous post and reproduced below for comparison) but without cold gold on the face and with the lotus base. There is no doubt that this is Avalokiteshvara because there is a large effigy of Amitabha on his head. He holds a roundish object in his left hand, possibly a jewel (rare but not unknown among his attributes).

Both wear a two-tiered skirt-like lower garment, held in place with an apron-like belt, and a small shawl or scarf over their shoulders.

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