Undated, Ladakh, Digar Kharpoche, stone stele carved on three sides, photo by Devers, on Journals
From left to right, Tara and Manjushri with four arms, holding a sword in his upper right hand and the stem of a blue lotus in his lower left hand; Vajrapani, holding a vajra sceptre before his heart and possibly a bell against his left hip; Avalokiteshvara in his padmapani form.
9th century or later, Ladakh, Leh, Avalokiteshvara, stone, photo by Christian Luczanits on tugraz.
Avalokiteshvara in his Avalokita form, holding a lotus flower and a lotus bud in his upper hands, a lasso in the lower left hand, the remaining one displaying the gesture of generosity. The figure to his left is Hayagriva, identified by the horse’s head on his own and much smaller in size since he is an attendant.
Undated, Ladakh, Alchi, bodhisattva, wood, published by Christian Luczanits in The Early Buddhist Heritage of Ladakh Reconsidered on C. Luczanits
A bodhisattva with a Kashmiri-style crown with a crescent moon at the front, princely jewellery and a foliate garland that passes under his legs, a feature seen on works from early Kashmir, Ladakh and especially Himachal Pradesh.
circa 11th century, Ladakh or Lahul (Himachal Pradesh), Shakyamuni, painted wood, at the Cleveland Museum of Art (USA).
This sculpture is posted again here as it was previously attributed to Tibet and may be from Ladakh. Apart from the Kashmiri-style proportions and shape, especially of the waist and abdomen, we will note the small piece of robe that covers the buddha’s shoulder (see below).
Circa 11th century, Tibet (or Ladakh?), Shakyamuni, brass with silver and copper inlay, at the Asian Art Museum in San Francisco (USA).
A powerful Gupta-style figure with a sharp nose and unibrow, silver-inlaid eyes and copper-inlaid lips, no urna, reminiscent of various buddhas from Ladakh seen in previous posts. The same goes for the piece of sanghati that discreetly covers his right shoulder and the design of the folds on the other side.
Undated, Ladakh, Manjushri, brass with turquoise inlay, private collection, photo on Himalayan Art Resources HAR.
Manjushri, identified by the blue lotus that supports a book, wears a tall tripartite crown inlaid with turquoise and decorated with rosettes but no flowing ribbons, princely jewellery, a sash drawn tightly across his chest, a foliate garland that reaches his ankles. The elongated hoofed petals of the lotus base are similar to those of a circa 11th century Vajrasattva from Ladakh published previously and the treatment of his dhoti and belt is identical to that of an Avalokiteshvara at Musée Guimet (shown below for comparison).
10th-11th century, Western Tibet/Ladakh, Avalokiteshvara.
13th-14th century, Ladakh or Western Tibet? (labelled Kashmir or Ladakh), bodhisattva, bronze (brass), private collection, photo on LEMPERTZ.
This bodhisattva with unusual body proportions sits on a lotus base with plump petals typical of circa 14th century Tibet. He appears to hold a pearl between the thumb and middle finger of his right hand and may have held a book in the other, which would correspond to an early non-tantric form of Manjushri (the blue lotus to his right is one of his attributes), although in this case the hand is held palm inwards.
His small chin contrasts with the square face with fleshy lips and nose. He has a Pala-style chignon with a cascade of carefully incised locks, topped with a large jewel once inlaid with a stone. The tripartite crown is decorated with a geometrical pattern and singular roundels in lieu of rosettes. Another singular feature is the way his unibrow goes sharply upwards, and more so on one side.
15th century, Ladakh, White Tara, bronze (brass) with silver, copper, turquoise and coral inlay, private collection, photo on Hampel.
White Tara, with silver-inlaid eyes and copper-inlaid lips, has a third eye at the centre of her unibrow and more eyes on the palm of her hands and the sole of her feet; her princely jewellery is inlaid with silver, turquoise and coral and she is seated on a double-lotus base with a row of silver beading at the top.
Her lower garment is decorated with a chased floral pattern and held in place with a copper-inlaid belt.
Undated (circa 18th century?), Ladakh, said to be Drolma/Tara, metal, at the Yale Peabody Museum of Natural History Yale.