Tibet, Avalokiteshvara – standing (17)

11th or 12th century, Western Tibet, Avalokiteshvara – Padmapani, brass, private collection, photo by on jstor  

Avalokiteshvara in his ‘lotus bearer’ form, with an effigy of Amitabha in his headdress and an antelope skin on his left shoulder, dressed in a richly incised dhoti and adorned with a crown made of three triangular leaves, princely jewellery and a foliate garland typical of early Guge-style works.

Circa 13th century, Western Tibet, Guge, Padmapani (Avalokiteshvara), bronze, private collection, photo by Sotheby’s, 1997.

Another type of crown is the tall Kashmiri-style crown, made of crescent-shaped lotus shoots supporting a floral or foliate ornament.  (see “COMPARING WORKS” > The Early Guge style and related works in the left margin of this blog).

12th century, Tibet, Lokeshvara, bronze, private collection, photo on Hardt , 23rd November 2019.

This padmapani with a thin waist and disproportionate torso holds two open lotuses in his left hand. He is adorned with Nepalese-style serpentine armbands and a sash knotted on the left, no antelope skin or buddha effigy.

12th century, Tibet, Lokeshvara, bronze with silver eyes, private collection, photo by Hardt as before, close up here.

A completely different style, reminiscent of early dwarf attendant figures leaning towards the deity they accompany. His left hand does a gesture to bestow patience, normally associated with a rosary, the right hand is not doing any particular gesture, which is unusual. The effigy of Amitabha at the front of his tall crown identifies him as Avalokiteshvara/Lokeshvara.

16th-17th century, Tibet , (Avalokiteshvara) Padmapani, gilt bronze, private collection, photo by Sotheby’s, Arts d’Asie 11th June 2009 lot 271, Paris.

16th-17th century, Tibet , (Avalokiteshvara) Padmapani, gilt bronze, private collection, photo by Sotheby’s, Arts d’Asie 11th June 2009 lot 271, Paris.

17th-18th century, Tibet, Avalokiteshvara, polychrome wood, private collection, photo on Sotheby’s  .

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 cast.

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.

Circa 18th century, Tibet, Padmapani (Avalokiteshvara), bronze with silver-inlaid eyes and copper-inlaid lips, private collection, photo on Olympia Auctions .

An example of the ‘late Pala revival’ style, depicting Avalokiteshvara seated on a double-lotus atop a stepped throne recalling the shape of a tortoise.

Tibet, Avalokiteshara – standing (16)

A new page called “The Guge style and related works” has been published as a subsection of the “Comparing Works” page, in the left hand side of this blog, including the first image in this post.

11th-12th century, Western Tibet, Guge, Avalokiteshvara, bronze (brass), private collection, photo on Hardt

The metal sculptures made by Kashmiri artists for the Guge kingdom during the 11th and 12th century display the usual athletic chest, narrow waist, cruciform navel, silver-inlaid eyes so characteristic of Kashmiri art, combined with a series of unique features…

such as the large and full face with small fleshy lips and a marked chin, the garland of flowers …

… the richly and deeply incised dhoti, shorter on one side, the prominent knee caps. The above has an effigy of Amitabha at the front of his crown, an antelope skin over his left shoulder, a long-stemmed lotus in his left hand, no armlets. His right hand does the fear-allaying gesture.

12th century, Tibet, (Avalokiteshvara) Padmapani, bronze, private collection, photo on Hardt

Avalokiteshvara with the right hand doing the gesture of supreme generosity

12th century, Tibet, Avalokiteshvara, bronze, private collection, photo on Hardt

With his left hand doing a gesture to bestow refuge.

12th-13th century, Tibet, (Avalokiteshvara) Padmapani, bronze, private collection, photo by Koller.

This brass sculpture, probably made in Western Tibet, depicts him with a small water pot in his right hand and an effigy of Amitabha at the base of his chignon.

13th century, Tibet, Avalokiteshvara, bronze, private collection, photo on Hardt

The treatment of the eyes on this dark bronze is reminiscent of Swat Valley works, and so is the fan-shaped hairstyle.

13th century, Tibet or Ladakh, Avalokiteshvara, bronze on a modern base, private collection, photo by Michael Backman

This one, on the other hand, is very similar to an 11th-12th century padmapani attributed to Ladakh by Koller seen here

17th-18th century, Tibet, (Avalokiteshvara) Padmapani, gilt bronze, photo on VAN HAM.

The design of the lotus in Avalokiteshvara’s left hand, the shape of his body and the colour of the gilding are the same as on various early Nepalese sculptures seen in previous posts.

18th century, Tibet, (Avalokiteshvara) Padmapani, bronze (copper alloy), private collection, photo on Hardt

This figure with a doll-like body has a large Kirtimukha on the front of his crown, just like a silver Maitreya seen here

 

Tibet, Avalokiteshvara – seated (7)

11th-12th century, Tibet, Avalokiteshvara, gilt bronze (copper alloy), private collection, photo by 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 by Sotheby’s, sale N10033.

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.

12th-13th century, Tibet or Nepal, Lokeshvara, bronze (copper alloy) with traces of gold, private collection, photo by Marie-Catherine Daffos for Cornette de St Cyr on aaoarts

The fly whisk in his right hand is normally associated with the six-arm form of Avalokiteshvara. The hole in his head suggests there was an effigy of Amitabha at the front of his elaborate coiffure, which recalls the Indian Khasarpana Lokeshvara form but without the cascade of curls on each side. See below for comparison.

13th century, Tibet, Khasarpani Lokeshvara, photo by Sotheby’s (dated 17th-18th century by Christie’s 2019.

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

Tibet, Avalokiteshvara – standing (16)

Circa 11th century, Tibet, Avalokiteshvara, gilt copper alloy, private collection, photo by Andrew Lau for Hollywood Galleries

The open lotus in his left hand and the gesture of generosity with the right hand point to Avalokiteshvara, yet the buddha in his crown looks like Akshobhya rather than Amitabha, and there is a wheel of dharma incised in the palm of his hand. His dhoti is decorated with a lotus print and held in place with a festooned belt.

The back of the sculpture hasn’t been gilt and there is a small tang between his shoulders, which probably supported a nimbus.

13th century, (Tibet), Avalokiteshvara, brass, at the Zhol Village museum in Lhasa (Tibet), photo by Petra Mueller on WHAV

This one has an effigy of Amitabha in his crown, made of tall triangular leaves and prominent side bows (reminiscent of the Kurkihar style in the Northeast of India).

14th-15th century, Tibet, Padmapani Lokeshvara, gilt copper alloy with turquoise, coral and lapis lazuli, private collection, photo by Bonhams.

Clearly made by a Newari artist, this work is almost identical to a Padmapani currently at the Walters Art Museum (see here,) but inlaid with coral and hard stones (preferred by the Tibetans). Avalokiteshvara stands on a lotus with a stem, suggesting that the figure was part of a triad, and wears a richly incised dhoti and princely jewellery including several rings, one of them with the turquoise-inlaid cabochon turned towards the viewer. The earrings with lotus shoots studded with stones are typical of Newari art but they also appear on Nepalese/Tibetan Khasa Malla works.

16th century, Tibet, Padmapani (Avalokiteshvara), bronze with cold gold and pigments, private collection, photo by Nagel.

Avalokiteshvara stands on a moon disc over a lotus placed on a stepped throne with snow lions and a vajra sceptre at the front (usually related to Shakayamuni), dressed in a garment with two layers of multi-pointed fabric with an embroidered hem, adorned with a small tiara, rather bulky jewellery and a celestial scarf.

Circa 17th century, Tibet, Avalokiteshvara, copper alloy, private collection, photo by Bonhams, auction 25250.

A rare four-arm form doing a symbolic gesture with one of his main hands and holding a vase and a disc in his upper hands. These attributes are associated with the ‘eye-cleaning’ aspect of the deity but the gesture would normally consist in the ring finger of the right hand touching the palm of the left hand. There is an antelope skin on his left shoulder.

17th century, Tibet, Padmapani (Avalokiteshvara), gilt bronze, private collection, photo by Nagel.

 

Tibet, Avalokiteshvara – standing (15)

Unlabelled (11th or 12th century?, Western Tibet, Avalokiteshvara, copper alloy with turquoise inlay), private collection, photo on HAR

Very similar to a sculpture at the Norton Simon Museum ( here) and a few others seen in previous posts, this figure displays features associated with the ancient Tibetan kingdom of Guge, in particular the lower garment and belt, the foliate garland with a single flower at the front and the Kashmiri-style facial features with silver-inlaid eyes. He has a small antelope skin over his left shoulder, an effigy of Amitabha on the central leaf of his crown, fastened with long wavy ribbons reminiscent of Gilgit works.

what do you mean?

13th century, Western Tibet, Padmapani (Avalokiteshvara), copper alloy with pigments, private collection, photo by Bonhams.

A highly original sculpture of a bodhisattva with a blue lotus in his left hand, his right hand in the fear-allaying gesture. He wears a short dhoti decorated with an incised semi-circular motif, some jewellery including a necklace typical of 13th century Tibet, a foliate garland unusually worn across the chest like a brahmin’s thread and knotted at the front, a tiara with three leaves set wide apart – his hair fanning out above it in the manner of Swat Valley works. His face (note the unibrow and the Pala-style gaze and sharp nose) is painted with cold gold and red pigment for the lips. His arms and the lotus are secured with rods connected to his body.

Circa 12th century, Tibet Padmapani Lokeshvara, lapis lazuli, private collection, photo on Bonhams

A rare semi-precious stone image of Avalokiteshvara with a tripartite crown and beaded jewellery, holding the stem of a large lotus rising from the base.

His right hand does the gesture of generosity and leans against a blue lotus, probably there to prevent breakage.

Bonhams published this image with concise but helpful information about another two lapis lazuli images, one of them (published recently as an unidentified metal sculpture as per the information given on HAR) identified as ‘Bhutadamara’, to be featured  in the next post.

12th century, Tibet, Avalokiteshvara, brass, private collection, photo on Bonhams

This one does the fear-allaying gesture with his right hand and has an effigy of Amitabha in front of his chignon (and possibly another at the top?).

12th century, Tibet, Avalokiteshvara, brass+pigment, private collection, photo on Bonhams

Standing on a small Pala-style lotus and flanked by two stupas, Avalokiteshvara is depicted with an exaggeratedly tall coiffure topped with a lotus bud finial and  adorned with a low tiara tied with large flowing ribbons…

… and jewellery decorated with incisions associated with Western Tibet. He holds an oversized lotus and has a tiny antelope skin over his left shoulder.

Circa 12th century, Western Tibet or Western Himalayas? (labelled ‘Kashmir’), Padmapani, bronze (brass), private collection, photo by Nagel.

An unusual sculpture depicting him 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.

Tibet, Avalokiteshvara – unusual forms (3)

Cir. 11th century, Tibet or India, Mahakarunalokeshvara, bronze (copper alloy), private collection, photo on Nagel

Avalokiteshvara, identified by the effigy of Amitabha in his headdress, seated at royal ease, his right arm over his knee, leaning on his left arm and holding the stem of a lotus.

16th-17th c., Tibet, Avalokiteshvara, gilt bronze+turq., 23,7 cm, floral tiara, incised shawl+dhoti, HK Sotheby's

16th-17th century, Tibet, Avalokiteshvara, gilt bronze (copper alloy) and turquoise, private collection, photo by Sotheby’s.

A curious  mixture of Nepalese and Chinese features for this bodhisattva seated on a lotus base with an incised rim. He wears a long dhoti and a shawl decorated with stippled lotuses and an incised cloud motif, and is adorned with a headband with a large turquoise-inlaid flower and matching rosettes above his ears. No effigy of Amitabha. 

17th-18th century, Tibet, Avalokiteshvara, bronze (copper alloy) at the Metropolitan Museum of Art in New York (USA).

Although late works often depart from the prescribed form, the photo of this Chinese-style sculpture may be the wrong way round as he normally leans on his left arm and holds the stem of a lotus in his left hand.

12th-13th century, Tibet, Padmapani, copper alloy, private collection, photo by Hollywood Galleries https://hollywood-galleries.com

This Pala-style sculpture depicts Avalokiteshvara with a third eye and a moon crescent in his headdress (both associated with his simhanada form). He wears a broad sash and long dhoti decorated with a stippled lotus motif and holds the stem of a day lotus to his left and a night lotus to his right.

12th-13th century, Tibet, Padmapani, bronze with silver inlay, private collection, photo on Nagel

He often has a lotus embossed in the palm of his right hand, held in the gesture of supreme generosity.

8th century (or later?), Tibet, Padmapani, copper alloy (brass), private collection, photo by Hanhai auction http://hanhaiauction.com.

This Avalokiteshvara has a large effigy of Amitabha in his Swat-Valley style headdress and a Kashmiri-style flaming halo fastened to his back. The antelope skin has been replaced with a broad sash. The mixture of styles, the crudely rendered fingers and toes and the chiselled effect on the dhoti are associated with the (circa) 18th century.