Himachal Pradesh, standing Buddha (2)

11th-12th century, Himachal Pradesh, Kashmir Schools in Western Tibet, Buddha Shakyamuni, brass, 58,5 cm, photo: courtesy of Ulrich von Schroeder, Buddhist Sculptures in Tibet Volume One, Visual Dharma Publications, Hong Kong, p. 148 pl. 38A, Potala Collection, inventory nº 410 at the Lima Lhakhang, Lhasa (Tibet).

Standing on a lotus atop a Pala-style legged pedestal, complete with its serrated halo, the historical buddha raises his right hand to dispel fear and holds a piece of his garment in the other. The rather large head is painted with cold gold and pigments.

Himachal Pradesh, Vajravarahi

11th-12th century, Himachal Pradesh, Marichi Vajravarahi, (painted clay on a wooden armature?), photo onbiblio , from Himalayan Art, 1968, by Madanjeet Singh, p. 109.

Statues inside Gemur Gompa’s Dukhang, Lahaul, Himachal Pradesh, photo on Wanderings in Lahaul 

The Gemur Tibetan Buddhist monastery houses this spectacular statue of Vajravarahi. The sow’s head sticking out of her right temple is her distinctive feature. She stands on one foot like a dakini, naked, brandishing a flaying knife in her right hand and holding a skull cup before her heart. She has a third eye and is adorned with a five-skull crown and bone jewellery. According to the Himachal Tourism Office , she is locally known as ‘Marichi Vajravarahi, as an embodiment of dawn’. Marichi, the goddess of dawn, is a separate entity who holds a needle and thread (in her two-arm form) but a paragraph in Buddhist Art and Antiquities of Himachal Pradesh by O.C. Handa says ‘On the other hand, we learn from the sadhanamalatantra – a compendious tantric Buddhist work – that the tantric Buddhist deity Marichi Vajravarahi should have in her hands: vajrankushashara-suchidhari-dakshinakaram, i.e. the goddess who holds in her three right hands a vajra, a goad, an arrow besides the fourth one in suchi mudra‘. So there is a form of Vajravarahi related to Marichi, but she has eight arms and, therefore, probably three heads (like some forms of Marichi). Why the above should be called Marichi Vajravarahi remains a mystery…

Himachal Pradesh, rock carvings

5th-8th century or earlier, Himachal Pradesh, carving on rock at Kardang, 3 m high, photo from an article by Ankush Gupta (p. 2 Fig. 3).

Padmapani Avalokiteshvara is easily identified through the large open lotus in his left hand, the other two bodhisattvas are probably Maitreya and Manjushri. They all wear earrings and a three-leaf crown.

5th-8th century or earlier, Himachal Pradesh, Maitreya, stone carving, at Khangsar, photo (published the wrong way round in the said article) as above, Fig. 8.

According to the author’s description, and following the traditional iconography, Maitreya holds a water pot in his left hand (hidden by building materials). He holds his right hand in front of his chest to make the fear-allaying gesture.

Himachal Pradesh, buddhas

6th-8th century or later, Himachal Pradesh, Buddha, copper alloy, 15,9 cm, private collection, photo on Sotheby’s

Much worn by years of devotion, this brassy work depicts a seated buddha with both arms covered by his sanghati, his left hand making the gesture of supreme generosity, the other displaying the gesture of debate. There is no lotus bud or other finial on his chignon but he appears to have an earplug on one of his earlobes (unless it is a flaw in the casting).

12th-13th century, Himachal Pradesh or Western Tibet, brass, Shakyamuni, private collection, photo on Christie’s

We saw a similar buddha labelled ’12th century possibly, Gilgit or Kashmir’ by Chiara Bellini (Fig. 6), better modelled but with the same type of large floral nimbus (typical of Himachal Pradesh), similar facial features (with a sharp nose and large vacant eyes), a robe with thick concentric folds and ripples on both arms, a large lotus bud finial on his chignon, large squarish feet, standing on a lotus with incised petals, atop a Pala-style ‘tortoise’ pedestal.

Himachal Pradesh, various sculptures

5th-6th century or before, Himachal Pradesh, Lower Keylong, (Avalokiteshvara) Padmapani, stone, photo in an article by Ankush Gupta, pp 868-869.

This stone sculpture, about 7 feet high according to the author, depicts Avalokiteshvara with a lotus in his right hand, adorned with a three-leaf crown with rosettes, some earrings and a choker.

Undated, Himachal Pradesh, Manjushri, stone, at Khangsar, photo in an article by Ankush Gupta as before, page 870.

A rare image of Manjushri holding a blue lotus in his left hand and clutching a sword before his chest (instead of holding it at head level), coiffed with a crown made of elongated tear-shape leaves reminiscent of some seen on 11th-century clay sculptures at Nako and Ropa, for instance. He is further adorned with earrings, a necklace, and a garland.

8th century (or much later?), Himachal Pradesh, Triloknath temple, Avalokiteshvara, marble, photo on Ferry Erdmann .

The effigy of Amitabha on his head identifies this character as Avalokiteshvara (see wikipedia  about the dating and the story behind this sculpture).

Possibly 12th century, Himachal Pradesh, Avalokiteshvara, marble, 120 cm, photo by D. Lewiston on Tharah Kardu , at the Triloknath temple, Lahul and Spiti District, Himachal Pradesh.

Seated with a leg pendent, on a lotus supported by column, the bodhisattva of compassion is depicted in his six-arm form, with a rosary and the stem of a lotus in his main hands; his lower right hand makes the gesture of supreme generosity, the left one holds a water pot, his upper right hands makes the gesture of debate, the other usually holds an elephant goad or a stick – which corresponds to the Sugatisamdarshana aspect of Avalokiteshvara.

8th century, Himachal Pradesh, Gandhola, head of Avalokiteshvara, marble, after Christian Luczanits in an article by Verena Widorn on brill, kept in Tupchiling, Lahaul, Himachal Pradesh (now part of India).

The above looks quite older and different. Instead of the beaded ornament with festoons and tiny pendants covering his head, he has a Kashmiri-style crown, with crescents forming the leaves, and the effigy of Amitabha is included at the front rather than sitting on top of the head. Also, the eyes are more open, the lips and nose are fleshier.

11th century, Himachal Pradesh, Ropa, Main Hall, Avalokiteshvara, wood, published by Laxman S Thakur on jstor.

Western Himalayas, Prajnaparamita

11th century, Western Himalayas, possibly Chamba, Prajnaparamita, bronze with silver and copper inlay, private collection, photo on Christie’s , lot 443.

While the treatment of the eyes is slightly reminiscent of mohras, the generous breasts, slender waist, curvy hips, beaded belt, tight-fitting tunic with an opening above the navel, and the very long skirt-like garment recall a Kashmiri statue of Tara seen on Sotheby’s recently; yet, the exaggeratedly thin waist and limbs, the punched navel, the unique mixture of silver and copper for the crown and jewellery, and the design of the necklace depart from Kashmiri standards. Compare also with a Tara at the Ashmolean Museum, attributed to Chamba (formerly part of Tibet) and a two-hand Prajnaparamita from Gilgit (wearing a long skirt but of a different style). In her four-arm form Prajnaparamita always holds a manuscript in her top left hand but but instead of a rosary or a vajra sceptre in her upper right hand, this figure has a long-life vase. The lower one, often held in the gesture of supreme generosity, clutches a lotus flower. It is not clear what she has in her lower left hand.

Himachal Pradesh, seated buddha

10th-11th century, North(ern) India, Himachal Pradesh or Kashmir, Shakyamuni, bronze with silver inlay, private collection, photo on Christie’s

This Kashmir-style sculpture displays various features often seen on portable metal works from the ancient Tibetan kingdom of Himachal Pradesh (now part of India) such as the very large eyes, the fleshy lips, the ends of the flowing scarf, the broad hoofed petals of the lotus, and the colour of the alloy. Also, aureoles come in all shapes and sizes, this one is the first of its kind so far.

Himachal Pradesh, bodhisattvas (2)

11th century, Spiti or Lahaul region, (Himachal Pradesh, formerly part of Tibet), Manjushri “Sthiracakra”, brass (with silver-inlaid eyes and urna), photo on Fondation Alain Bordier , at the Tibet Museum in Gruyères (Switzerland).

Sthiracakra and arapachana Manjushri have a different colour skin on paintings (saffron and white respectively) but look the same in sculpture: seated with his legs locked, the bodhisattva of wisdom brandishes a flaming sword in his right hand and holds a manuscript at heart level in the other. On this Kashmiri-style example , Manjushri’s hair is tied in a topknot except for long strands of twisted hair that cascade over his shoulders and are adorned with a jewel. The shape of the mandorla is typical of the area.

11th century, Himachal Pradesh, Spiti district, Vajrasattva, copper alloy with silver and copper inlay, at the British Museum in London (UK).

A mixed-style brassy work depicting Vajrasattva with silver-inlaid eyes and urna, copper-inlaid lips and nipples, a roughly-modelled vajra sceptre floating above his right hand, the bell missing from his upturned left hand. His crown, made of five peaks topped with large jewels, is decorated with prominent bows and tied with long wavy ribbons with split ends resembling lilies. He wears a tight-fitting dhoti that goes below the knee and a long scarf, also with split ends. The mandorla behind him is incised with vajra sceptres and the (broken) nimbus has an inner row of beading and an outer row of flames.

Circa 12th century, Kashmir (or Western Himalayas?), Padmapani (Avalokiteshvara), bronze, private collection, photo  on Nagel Update September 2020: labelled 11th-12th century, Himachal Pradesh, Avalokiteshvara, brass, on Bonhams

An unusual sculpture depicting Avalokiteshvara on a Kashmiri-style lotus base and plinth, wearing a singular tripartite crown with Amitabha at the front and a jewel at the top of each leaf, small and large flowers above the ears, more flowers at the end of his braided hair, plain jewellery, a coarse garland and matching nimbus.

13th century, Western Himalayas, Vajrapani, brass,  Los Angeles County Museum of Art.

Standing on a stepped plinth derived from a Kashmiri design, Vajrapani holds a vajra sceptre horizontally in his right hand, the other is placed on his hip. He wears a dhoti shorter on one side and has large knee caps, as in Western Tibet and nearby areas. His eyes are slit horizontally in the unique style of Himachal Pradesh.

Himachal Pradesh, Gumrang

The following painted clay sculptures are at the Gumrang temple in Himachal Pradesh. Unlike those we have seen so far, only a few remain, they have not been renovated and are not in their original place. The photos are from the Western Himalaya Archive Vienna website: WHAV

Undated (circa 11th century), Gumrang, Vairocana, painted clay, photo by Christian Luczanits, 1993.

Vairocana with four heads, probably the central image of the original composition.

Undated (circa 11th century), Gumrang, Amitabha, painted clay, photo by Christian Luczanits, 1993.Amitabha, with a red body, both hands would have been over his lap in the meditation gesture.

Undated (circa 11th century), Gumrang, Ratnasambhava, painted clay, photo by Christian Luczanits, 1993.

Ratnasambhava, his right hand palm out, his left hand over his lap, the fingers raised as if to hold a gem (normally in the right hand).

Undated (circa 11th century), Gumrang, Akshobhya, painted clay, photo by Christian Luczanits, 1993.

Ashobhya, with a blue body, his left hand in the meditation gesture, his right hand would have (symbolically) touched the ground.

Undated (circa 11th century), Gumrang, red goddess, painted clay, photo by Christian Luczanits, 1993.

Undated (circa 11th century), Gumrang, yellow goddess, painted clay, photo by Christian Luczanits, 1993.

Undated (circa 11th century), Gumrang, (red) goddess, painted clay, photo by Christian Luczanits, 1991.

Undated (circa 11th century), Gumrang, goddess, painted clay, photo by Christian Luczanits, 1993.Possibly the four goddesses that accompanied the four wisdom buddhas seated next to Mahavairocana.

Undated (circa 11th century), Gumrang, standing bodhisattva, painted clay, photo by Christian Luczanits, 1993.

Undated (circa 11th century), Gumrang, standing bodhisattva, painted clay, photo by Christian Luczanits, 1991.

Undated (circa 11th century), Gumrang, buddha, painted clay, photo by Christian Luczanits, 1993.

Possibly the historical buddha, wearing a patched robe that covers the left shoulder only.

Himachal Pradesh, Ribba

The following painted clay sculptures are at the Translator’s Temple in Ribba, Himachal Pradesh. Various dates have been given for the construction of the building itself (9th-11th century), which still has a large amount of wood carvings, many of them original. No dating has been given for the clays sculptures. The photos are from the Western Himalaya Archive Vienna website WHAV

Undated, Ribba, gatekeeper, painted clay, photo by Christian Luczanits, 1994.

The red gatekeeper clad in a tiger skin loin cloth and wielding a skull-tipped club may be Hayagriva, who should have a horse’s head in his headdress. The execution of the face is somewhat crude compared with others seen in recent posts. He is adorned with a five-skull crown with rosettes, floral earrings, snakes and princely jewellery painted on his body.

Undated, Ribba, gatekeeper, painted clay, photo by Christian Luczanits, 1994.

On the other side, Vajrapani, with a dark blue body, wielding a vajra sceptre.

Undated, Ribba, Green Tara, painted clay, photo by Christian Luczanits, 1994.

Green Tara, with a leg pendent, her hands displaying supreme generosity and reassurance. The design of her crown and jewellery is very similar to those worn by some bodhisattvas at  the Tabo monastery but her facial features are different and her lower garment is held in place with a contrasting cloth belt.

Undated, Ribba, goddess (labelled White Tara), painted clay, photo by Christian Luczanits, 1994 WHAV.

Possibly one of the offering goddesses in a mandala, this female entity is seated at royal ease and doesn’t seem to have a third eye on her forehead or any eyes incised in the palm of her hands.

Undated, Ribba, vajrabodhisattva, painted clay, photo by Christian Luczanits, 1994. This may be Vajraratna, who has a blue body and holds a gem. He wears a similar crown, belt and dhoti as the previous statue, plus a shawl that covers his shoulders in the Chinese fashion.

Undated, Ribba, (Manjushri?), painted clay, photo by Christian Luczanits, 1993.

An archaic form of Manjushri, seated with his legs locked and wielding a sword with the right hand while holding a book horizontally in the other. The yellow body corresponds to his Sthiracakra Bhavana aspect.

Undated, Ribba, (Avalokiteshvara), painted clay, photo by Christian Luczanits, 1994.

Shadakshari Lokeshvara, his main hands before his chest to (symbolically) hold a wish-granting jewel, the others holding a rosary and a lotus.

Undated (circa 18th century?), Ribba, (Amitabha), painted clay, photo by Christian Luczanits, 1994.

This more recent sculpture depicts Amitabha, with a red body, both hands in the meditation gesture to support a bowl, his prominent chignon topped with a lotus bud, his lower garment worn high up his waist, his upper garment covering both shoulders but leaving the right arm free.

Undated (circa 18th century?), Ribba, (Padmasambhava), painted clay, photo by Christian Luczanits, 1994.

The unmistakable Padmasambhava, holding a vajra sceptre and a skull cup, his ritual staff propped against the left shoulder.