Tibet, Avalokiteshvara – standing (27)

11th-12th century, Western Tibet, Padmapani (Avalokiteshvara), bronze, 12 cm, private collection, 8th November 2023, lot 534, Olympia Auctions

1200-1299, Tibet, unidentified bodhisattva, metal (brass), photo on HAR, accession nº not quoted, at the Museum der Kulturen in Basel (Switzerland).

Both Maitreya and Avalokiteshvara may have the skin of an antelope over the left shoulder, but a lotus in the left hand and a water pot in the right hand usually correspond to Avalokiteshvara (Maitreya holds his ritual water pot in the left hand, and his flower may be a blue lily, a nagakesara, or a nagchampa blossom). Also, he doesn’t seem to have a stupa between his low tiara and his chignon. The backplate features elephants, peacocks, viyalas, makaras, and a garuda holding nagas in its claws and beak.

1650-1680, Tibet, Nepalese schools, Lokeshvara, white sandalwood with cold gold and pigments, 99 cm, photo: courtesy of Ulrich von Schroeder, Buddhist Sculptures in Tibet Volume Two, Visual Dharma Publications, Hong Kong, p. 991 pl. 244B Potala Collection, Phags pa lha khang inventory nº 35, Lhasa (Tibet).

We have seen other bodhisattvas from this series. Avalokiteshvara holds an open lotus in his left hand.

Tibet, Avalokiteshvara – standing (26)

13th century, Tibet, Pala style, Padmapani Lokeshvara, 22,5 cm, bronze, the Moke Mokotoff Collection lot 306, 13th September 2023, Christie’s

We saw a very similar sculpture from the Jokhang/gTsug Lhakhang collection on Ulrich von Schroeder , also standing on a small Pala style lotus base with a plinth that once fitted onto a large pedestal, and wearing a long skirt-like lower garment. The exaggeratedly tall chignon, the tall three-leaf crown with prominent side bows, the tubular legs, and the style of the jewellery are very different from the original Indian style a bring to mind works from Western Tibet.

17th century, Tibet, Avalokiteshvara, bronze with cold gold and pigment, 18,5 cm, private collection, Auction 819 China I, lot 59, 7th December 2023, Nagel

17th century, Tibet, Padmapani (Avalokiteshvara), gilt copper repoussé plaque, 35 cm, private collection, Arts d’Asie lot 314, Sotheby’s (Paris).

Tibet, Phagpa Lokeshvara (9)

11th century, Nepalese work in Tibet (?), Arya-Lokeshvara (?), copper with traces of gilding, 40,5 cm, photo: courtesy of Ulrich von Schroeder, Buddhist Sculptures in Tibet Volume One, Visual Dharma Publications, Hong Kong, p. 496 pl. 159A Potala Collection, Lima Lhakhang inventory nº 1073, Lhasa (Tibet).

Also known as Phagpa Lokeshvara (after the original sandalwood statue brought from Nepal to Tibet during the 7th century and kept at the Phagpa Lhakhang of the Potala), it is the only form of Avalokiteshvara that may have an effigy of himself at the front of his three-leaf crown. Always standing, with his right arm down and the hand open to express supreme generosity, he normally has his left hand against his hip, just above his sash. This one holds something in his hand, perhaps a broken lotus, which is unusual. He wears the serpentine armbands typical of early Nepalese works, a necklace with a floral pendant, some lotus-bud earrings.

The effigy at the front of his crown also has the left hand away from the hip, and appears to hold a flower.

Undated, Tibet or Nepal, Phaga Lokeshvara (labelled ‘Padmapani’), bronze, 22 cm, Asian Art auction 7th December 2022, Nagel

A more conventional depiction, with the hair folded in two bunches that show at the sides. See also Ian Alsop’s article on asianart.com

Tibet, Avalokiteshvara – early works (2)

Circa 11th century, Tibet, Padmapani Lokeshvara, bronze (with silver inlay now missing from the eyes (?), remains of cold gold on the face, blue pigment), 45,5 cm, inventory nº 1973.26 at the Allen Memorial Art Museum , Oberlin College, Ohio (USA).

We saw a black and white photo of this Kashmiri-style brass work here , which did not show it properly. The elongated neck, the long limbs, and the shape of the crown – different from Kashmiri standards – indicate that the statue was probably made for a patron in Western Tibet (ancient kingdom of Guge). In Kashmir and Tibet the padmapani (lotus-bearer) form of Avalokiteshvara usually displays an effigy of buddha Amitabha on the head or at the front of his crown (as above) and an antelope skin over the left shoulder. It is worth noting the way the antelope skin is knotted horizontally, rather than diagonally, across his chest – so far  unprecedented. His right hand is raised in the fear-allaying gesture.

12th-13th century, Indian work in Tibet, Avalokiteshvara, brass, 90 cm, photo: courtesy of Ulrich von Schroeder, Buddhist Sculptures in Tibet Volume One, Visual Dharma Publications, Hong Kong, p. 316 pl. 109A, Potala Collection, Lima Lhakhang inventory nº 411, Lhasa (Tibet).

On this Pala-style image, the effigy of Amitabha is placed behind the five-leaf crown.

12th-13th century, Tibet, Standing Avalokiteshvara, bronze, 12 cm, private collection, Fine Asian Art auction 16, lot 224, Hardt.

The same form of Avalokiteshvara, his tall three-point crown decorated with an effigy of Amitabha at the front and stiff bows at the sides, his right hand making the gesture of supreme generosity, the other clutching the stem of an open lotus. There is a small antelope skin over his left shoulder.

12th-13th century, Tibet (labelled ‘Kashmir’), Padmapani, bronze, 12,2 cm, private collection, 4th June 2022, lot 680, Ethereal.

This statue must have come from the same workshop as a Manjushri seen in a previous post, which was published on Christie’s in 2009 (reproduced below, as they no longer show the image).

12th century, Western Tibet, Manjushri, bronze, 16,5 cm,  private collection, Christie’s.

Western Tibet, Avalokiteshvara – seated (13)

11th century, Western Tibet, Avalokiteshvara, brass, 18 cm, photo: courtesy of Ulrich von Schroeder, Buddhist Sculptures in Tibet Volume One, Visual Dharma Publications, Hong Kong, p. 209 pl. 66B, Potala Collection, Sa gsum lha khang inventory nº 643, Lhasa (Tibet).

The bodhisattva of compassion in his padmapani form, with an effigy of buddha Amitabha at the front of his crown and an antelope skin over his left shoulder, his right hand in the gesture of generosity, the other clutching the long stem of an open lotus. We will note the Kashmiri-style flaming nimbus (the rest of the arch is broken), lotus base, marked pectorals and lobed navel. His tall crown is made of three triangular leaves topped with a jewel and has prominent side bows and long flowing ribbons. We will note the design of the earrings, and the necklace with three pendants (sometimes described as tiger teeth, other times as tiger claws, often worn by Manjushri but not exclusive to him) often seen on early brass works from Western Tibet.

11th-12th century, Western Tibet, Avalokiteshvara, brass with turquoise inlay, 15,5 cm, photo as before (p.164 pl. 46A), Potala Collection, Lima Lhakhang, inventory nº 517, Lhasa (Tibet).

A singular work with an unusual lotus base made of broad, swollen petals, a low crown inlaid with turquoise and a matching pendant, and a celestial scarf with upward-flowing extremities.

Tibet, Avalokiteshvara – standing

15th century, Tibet, Avalokiteshvara, bronze, 29,5 cm, private collection, Fine Asian Art lot 11, 6th December 2022, Nagel.

The bodhisattva of compassion, identified by the lotus in his left hand together with the boon-granting gesture of his right hand, which displays an engraved lotus, is standing on a lotus pedestal atop a Kashmir-style stepped plinth decorated with a lotus and two birds, possibly the mythical hamsas (we saw a very similar example on HAR).

The treatment of the eyes and other Chinese-style facial features along with the absence of gilding correspond to a group of brass/copper alloy works produced in the Tsang area during the 15th and 16th century.

12th-13th century, Western Tibet?, Avalokiteshvara (labelled ‘Kashmir, Maitreya’), bronze with traces of silver inlay, 14,1 cm, private collection, photo as above, lot 07.

We have seen quite a few Western Tibetan statues of Avalokiteshvara (with unusual body proportions) standing with a lotus (broken here) in his left hand and a tiny water pot in the other (Maitreya normally holds his in the left hand).

Circa 13th century, Tibet, Padmapani (Avalokiteshvara), bronze, 14,3 cm, private collection, Asian Art A203AS lot 103, 29th November 2022, Koller.

Western Tibet, Avalokiteshvara – padmapani (2)

11th-12th century, Kashmir Schools in Western Tibet, Avalokiteshvara, brass, 44,4 cm, photo: courtesy of Ulrich von Schroeder, Buddhist Sculptures in Tibet Volume One, Visual Dharma Publications, Hong Kong, p. 163 pl. 45C, Potala Collection, inventory nº 298 at the Lima Lhakhang, Lhasa (Tibet).

The bodhisattva of compassion in his padmapani form, with an effigy of Amitabha in his headdress and an antelope skin over his left shoulder, his right hand in the boon-granting gesture, the other holding the stem of an open lotus.

12th century, Kashmir Schools in Western Tibet, Avalokiteshvara, brass, 25,8 cm, photo as before, p. 165 pl. 46C, Potala Collection, inventory nº 79 at the Lima Lhakhang, Lhasa (Tibet).

The same form of Avalokiteshvara, making the fear-allaying gesture with is right hand. He wears a Swat-Valley style belt, a crown consisting in three triangular elements, a richly incised dhoti, a sash across his hips. The elaborate knot made with the antelope skin across his chest is typical of early brass works made in Western Tibet.

Western Tibet, Vajradharma Lokeshvara

Circa 11th century, Kashmir Schools in Western Tibet, Vajradharma, brass, 17,8 cm, photo: courtesy of Ulrich von Schroeder, Buddhist Sculptures in Tibet Volume One, Visual Dharma Publications, Hong Kong, p. 171 pl. 49D, Potala Collection, inventory nº 1403 at the Lima Lhhang, Lhasa (Tibet).

Although the iconography can be the same as for Rakta Lokeshvara, another form of Avalokiteshvara who plucks the lotus he holds in his left hand, the author indicates that the above is part of a set of vajrabodhisattvas. He can therefore be identified as Vajradharma Lokeshvara, who also has an effigy of Amitabha in his headdress. We will note that flames are engraved only on the upper part of the two-piece mandorla.

Western Tibet, pensive Avalokiteshvara (2)

Circa 11th century, Kashmir Schools in Western Tibet, Ascetic Form of Avalokiteshvara, Padmpani, brass, 16 cm, photo: courtesy of Ulrich von Schroeder, Buddhist Sculptures in Tibet Volume One, Visual Dharma Publications, Hong Kong, p. 172 pl. 50A, Potala Collection, inventory nº 470 at the Sa gsum lha khang, Lhasa (Tibet).

Circa 11th century, Kashmir Schools in Western Tibet, Ascetic Form of Avalokiteshvara, Padmpani, brass, 16 cm, photo as before, p. 173 pl. 50B, Potala Collection, inventory nº 602 at the Lima Lhakhang, Lhasa (Tibet).

Padmapani (lotus-bearer) Avalokiteshvara sits with a leg pendent, his right hand drawn towards his head as if to support it, his left hand clutching the long stem of an open lotus. Unlike the Gandharan ‘pensive Avalokiteshvara’, he has no crown, no earrings, no armbands, and no anklets, but he wears an effigy of Amitabha in his hair and an antelope skin over his left shoulder. The second example also has a headband painted across his hair, and a necklace with a pendant.

Tibet, Avalokiteshvara – unusual forms (6)

Circa 11th century, Kashmir Schools in Western Tibet, Form of Avalokiteshvara (?), brass, 14 cm, photo: courtesy of Ulrich von Schroeder, Buddhist Sculptures in Tibet Volume One, Visual Dharma Publications, Hong Kong, p. 166 pl. 47A, Potala Collection, inventory nº 564 at the Sa gsum lha khang, Lhasa (Tibet).

We have seen a few statues of Avalokiteshvara standing with a water pot in his right hand (Maitreya normally holds his in the left hand) and a lotus in the other. This figure is seated with his legs locked, and he holds the end of a very long crown ribbon in his left hand.

14th century, Tibet, Avalokiteshvara (labelled ‘Padmapani’), bronze with cold gold and pigment, 14 cm, Asian Art lot 33, 11th December 2021, auction 1190, Lempertz.

A rare image of Mahakaruna Lokeshvara, a form of Avalokiteshvara seated in the royal ease position, with both legs on the base, his right hand over his knee, his left arm leaning on the lotus base, the hand clutching a lotus, adorned with an effigy of Amitabha in his headdress or on is head, as above. He is further identified by the antelope skin over his left shoulder.