Undated, Tibet or Nepal, probably wood (with cold gold and pigments), at the Potala in Lhasa, photo in article on asianart.com by Ian Alsop.
One of the many reproductions of the original Nepalese image of Avalokiteshvara thought to have been brought to Lhasa during the 7th century and known as Phagpa Lokeshvara. He has a moon-like face, typical of Tibetan sculptures, and a small raised effigy at the front of his crown.
Unlabelled (Tibet or Nepal, wood with pigments), photo on HAR
Also with Tibetan facial features, coiffed with a tall crown made of three thin leaves of equal height, unlike most of the others we have seen so far, his folded hair showing on each side; there is an effigy of himself at the front, a feature unique to this form of Avalokiteshvara. He wears the usual large bell-shaped lotus earrings, knotted sash and floral belt. Two noteworthy ornaments are his long beaded necklace and some armlets placed very low down, possibly to hide the joint at elbow level.
13th century, place of origin unknown, Phagpa Lokeshvara, zitan (red sandalwood), private collection, photo on Sotheby’s
Despite the absence of the corresponding body this rather stern and tight-lipped head is interesting because of the effigy at the front of the crown.
The miniature Phagpa Lokeshvara has soft Tibetan facial features, with large eyes and fleshy lips, and as he doesn’t wear a crown we can see the intricacy of his topknot.
Circa 16th century, Tibet, Phagpa Lokeshvara, wood (with traces of gilding), private collection, photo on Koller
We came across one case with the arm out of place and subsequently restored to its original state. Koller tell us that the statue’s right arm has been repaired and this is probably why he is doing the fear-allaying gesture, which does not correspond to this form of Avalokiteshvara.
He has uncharacteristic Chinese-style slanted eyes and eyebrows and wears a plain crown and elaborate lotiform earrings.
17th-18th century, Tibet, gilt wood with polychromy, private collection, photo on Marques Dos Santos
Standing on a lotus pedestal rather than on a square base, his skin painted with cold gold, his mass of hair bulkier and nearly reaching the tallest part of the crown.
A photo taken at a different angle of what appears to be the same sculpture can be seen on Astamangala . On it, the hair doesn’t seem to go above the tip of the side leaves of the crown and the lotus base hasn’t been stripped. There seems to be painted pattern on his dhoti.