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 – early works

Circa 8th century, Western Tibet, Zhang Zhung Kingdom, Avalokiteshvara, gilt brass or bronze, 27,3 cm, photo on HAR , published in Buddhist Sculptures in Tibet Volume 2, p. 787 Pl. 187C, by Ulrich von Schroeder, Visual Dharma Publications, Hong Kong, Potala Collection, inventory nº 1376, at the Lima Lakhang chapel of the Potala in Lhasa (Tibet).

Avalokiteshvara, with an effigy of Amitabha at the front of his crown, a lotus in his left hand and an antelope skin on his left shoulder, is depicted in a pensive mood which recalls Swat Valley sculptures – as does the hairstyle and the large floral earrings. However, the rest of his jewellery, the low crown, the short dhoti, the belt knotted at the front, the stippled nipples, and the thin elongated limbs all depart from Swat Valley standards – not to mention the lotus seat supported by a singular rocky formation that integrates a lion surrounded by foliage at the centre, a ram at one corner, another hoofed animal but with straight horns at the other corner. 

7th-8th century, Swat Valley or Western Tibet, Padmapani (Avalokiteshvara), bronze, 10,8 cm, Indian and Southeast Asian Art lot 346, 16th September 2008, Christie’s.

This Avalokiteshvara is seated with his right leg over the left one, his right hand in the gesture of generosity, the left one holding the stem of an open lotus and leaning on his thigh. He has an antelope skin over his left shoulder and wears a long Pala-style dhoti with an incised pattern, a Western-Tibetan style crown and celestial scarf, beaded jewellery and a matching sacred thread. The lobed abdomen recalls Kashmiri works.

842-1206 CE, Tibet, Avalokiteshvara, clay tsa-tsa, photo on Huntington Archive, at the Tholing monastery, Ngari, (Western Tibet).

 

We don’t often see him in this pose, known as rajalilasana (often translated as ‘royal ease pose’). His right arm is placed over his raised knee at an awkward angle, his left hand holds the stem of lotuses and leans on the base. There is an effigy of Amitabha in his headdress. 

10th or 11th century, Tibet or Nepal, Avalokiteshvara, bronze, 12,4 cm, auction M0009 lot18, 15th December 2014, Pundole’s.

 

Tibet, Avalokiteshvara – seated (12)

Circa 15th century, Tibet, Khasarpani Lokeshvara, gilt copper alloy, private collection, photo on aaoarts , lot 67.

The bodhisattva of compassion is seated with a leg pendent, his foot supported by a lotus rising from the base, his right hand in the gesture of supreme generosity, the other making the gesture of debate and holding the stem of a large lotus. He wears a tight-fitting dhoti held in place with a belt, plus an antelope skin knotted around his waist rather than slung over his left shoulder, which is unusual. He is adorned with princely jewellery inlaid with turquoise, lapis lazuli, and coral, and has an effigy of Amitabha on his Indian-style braided chignon.

Tibet, Avalokitesvhara – seated (11)

Circa 11th century, Tibet, Avalokiteshvara, bronze, Nepalese artist, private collection, photo on Sotheby’s

The bodhisattva of compassion is identified by the effigy of Amitabha in his crown, together with the large open lotus in his left hand and the gesture of supreme generosity he makes with his right hand. The broad sash drawn across his chest and the way his legs are not fully locked indicate a Newar influence.

Circa 1370, Tibet, Densatil, Avalokiteshvara, gilt copper alloy, Fig. 119 in Jean-Luc Estournel ‘s catalogue raisonné.

Avalokiteshvara seated with a leg pendent, his foot on a flower attached to the lotus base, his left hand making the gesture to bestow patience (tip of middle finger on tip of thumb). He is flanked by lotuses and has a celestial scarf floating behind him.

15th century, Tibet, Avalokiteshvara, gilt metal, private collection, photo on HAR

Tibet, Avalokiteshvara – two ivory statues

17th century, Tibet, Avalokiteshvara, ivory, attributed to Choying Dorje, photo on  Metropolitan Museum of Art

We saw a similar ivory statue of Avalokiteshvara (on Cleveland Museum of Art ) but in a standing pose. This one is seated, adorned with the same bulky jewellery, wearing the same finely pleated lower garment held in place with a beaded belt, and holding the same attributes in his left hand: the stem of a lotus (broken in this case) and a water pot. He also has an effigy of Amitabha in his hair and an antelope skin over his left shoulder. The object in his right hand, broken on both examples, looks like another lotus stem.

17th century, Tibet, Avalokiteshvara (labelled ‘Shakyamuni’), ivory, private collection, auction 0444 lot 111, cambiaste.

This one definitely holds a lotus in each hand. The ample pleated dhoti and the two-tier floral crown are not representative of 17th century Tibetan art.

Tibet, Avalokiteshvara – seated (10)

8th-9th century, Western Tibet, Avalokiteshvara, bronze with copper and silver inlay, Kashmiri artist for a Guge patron, private collection, photo and details on Hardt, 2020 .

This masterpiece was probably made in the same workshop as a 706 AD sculpture from the gTsug Lakhang identified as Maitreya and attributed to Gilgit by Ulrich von Schroeder but labelled Western Tibet on Himalayan Art Resources . The crown on this one is complete and follows a Kashmiri design consisting in three crescents topped by three eight-petal lotus flowers. Avalokiteshvara is identified by the rosary in his right hand and the long-stemmed lotus in the other. (The gTsug Lakhang bodhisattva’s hands are in the same position and there is also a rosary in his right hand). He sits with the right leg pendent, on a lotus seat atop a rocky platform decorated with two deer and what appears to be another hoofed animal between them.

10th century (or later?), Tibet, Padmapani (Avalokiteshvara), bronze, at the Virginia Museum of Fine Arts (USA).

A rare Pala-style sculpture of Avalokiteshvara seated in a relaxed manner with both feet on the lotus base and both arms in front of him.

Tibet, medicine buddha (13)

12th-13th century, Tibet, Bhaisajyaguru, copper alloy, at the Virginia Museum of Fine Arts (USA).

A rare and early brass work depicting the main medicine buddha, identified by the arura fruit held between the thumb and forefinger of his right hand, seated on a single lotus atop a throne supported by two snow lions and decorated with an upright vajra sceptre at the front. Part of his tight-fitting sanghati covers the right shoulder, an early feature that reappears in Tibet around the 16th century, and there are two pieces of fabric on the other shoulder.

15th century, Tibet, Bhaisajyaguru? (labelled ‘Shakyamuni’), wood with traces of cold gold, Chinese lotus base, private collection, photo on Tajan .

A rare wooden sculpture of a buddha with his right hand in the gesture of supreme generosity and the other in the gesture of meditation to support a bowl. We have not yet come across any sculpture of the historical buddha depicted this way, and it could be Bhaisajyaguru, an arura fruit or branch now missing from his right hand.

Tibet, Avalokiteshvara – seated (9)

12th century, Tibet, Padmapani (Avalokiteshvara), bronze with silver and copper inlay, private collection, photo on Hardt .

Avalokiteshvara seated with the right leg pendent, his foot placed on a lotus springing from the plinth, his right hand in the gesture of supreme generosity, the left hand holding the stem of lotuses. Almost certainly made by an Indian artist, this striking figure wears a long dhoti with silver and copper-inlaid roundels typical of the Pala period. His eyes and urna are inlaid with silver, his tall braided chignon is topped with a lotus finial, there is a long brahmin cord going down his left side and across his lap.

12th-13th century, Tibet, Avalokiteshvara, bronze with traces of gilding, private collection, photo by Ravenel, 20th November 2016 lot 639.

Avalokiteshvara seated with the left leg pendent, his right hand in the fear-allaying gesture, a flaming nimbus fastened to his back.

13th century, Tibet, Padmapani (Avalokiteshvara), bronze with cold gold and blue pigment, private collection, photo by Koller, Asiatica 5th December 2017, lot 111.

A singular mixed-style bodhisattva seated with a leg pendent, his right hand in the gesture of generosity, the left one leaning on the base and holding the stem of a blue lotus (utpala) – not normally associated with Avalokiteshvara. The lotus seat has two rows of large petals not quite facing each other, topped with long stamens, on a tall plinth with an incised motif and a plain rim.

Undated, Tibet, Avalokiteshvara, (brass), private collection, photo on Himalayan Art Resources , at the Rietberg Museum in Zürich (Switzerland).Again, the effigy of Amitabha and the antelope skin over his left shoulder indicate that this Kashmiri-style ‘lotus bearer’ is Avalokiteshvara (compare with a similar sculpture here ).

Late 14th century, Tibet, Avalokiteshara, gilt bronze with turquoise and lapis lazuli, private collection, photo by Christie’s, sale 5533 lot 228, Paris.

The bodhisattva of compassion with an effigy of Amitabha on top of his chignon and a  stunning Malla-style crown with Kirtimukha at the front, his princely jewellery inlaid with a multitude of small cabochons, an antelope skin unexpectedly placed over his left thigh. He wears a long lower garment made of two layers of cloth held in place with a belt, the outer layer decorated with a large floral print.

Undated, Avalokiteshvara, (brass, cold cold, pigment), ‘Choying Dorje & Atelier, private collection’ on Himalayan Art Resources .

Unlike many figures modelled by Choying Dorje himself this pensive Avalokiteshvara with an unusual hairstyle doesn’t have an oval chubby face. He is seated on a rocky formation with his left leg pendent, wearing a plain skirt-like garment and an antelope skin over his left shoulder – no crown, belt, or jewellery.

Tibet, Avalokiteshvara – seated (8)

Pala period, (Tibet?), Avalokiteshvara – khasarpani, bronze with silver inlay, private collection, photo on Arman Antiques

A rare brass sculpture of the bodhisattva of compassion with silver-inlaid eyes, seated on a double lotus base with plump petals and coarse beading, his Pala-style chignon topped with a large lotus bud finial, his right hand in the gesture of supreme generosity, the left hand holding the stem of a lotus while doing a gesture to ward off evil. The manuscript tucked in his belt is a singular feature.

The lotus petals at the back of the base are engraved rather than sculpted.

14th-15th century, Central Tibet, Padmapani (Avalokiteshvara), bronze, private collection, photo on weart

(Possibly earlier and from Western Tibet?) this brass figure depicts a bodhisattva with a leg pendent, the foot placed on a blue lotus rising from the plinth, his right hand in the fear-allaying gesture, the left hand warding off evil. He is flanked by a blue/night lotus (utpala) and a day lotus.

16th century, Tibet, Avalokiteshvara? (labelled ‘Vairocana’), copper alloy with copper and stone inlay, photo in Antiques Trade Gazette

A Pala-style figure displaying a lotus embossed in the palm of his right hand extended in the gesture of supreme generosity, his matted hair piled in an elaborate chignon topped with a lotus and jewel finial, a sash drawn tightly across his chest.

Tibet, Avalokiteshvara – seated (7)

11th-12th century, Tibet, Avalokiteshvara, gilt bronze (copper alloy), private collection, photo on Sotheby’s.

We saw a Nepalese Vajrabodhisattva (see here ) on a similar lotus base wearing a lower garment with a broad hem deeply incised with a geometrical pattern like this one. On this example the design has also been used for the sash across his chest. He has an effigy of Amitabha at the front of his crown.

12th century, Tibet, Avalokiteshvara, copper alloy, private collection, photo on Sotheby’s.

Almost encased in his celestial scarf, the flame of enlightened knowledge rising from his chignon, the bodhisattva holds a vase in his left hand and a jewel in the other, at heart level. There is nothing to indicate that this is Avalokiteshvara.

Circa 14th century, Tibet, Padmapani (Avalokiteshvara), gilt copper alloy with turquoise and coral inlay, private collection, photo on Bonhams .