10th century, Western Tibet, Ngari area, Manjushri, bronze, at the Rubin Museum of Art in New York, item 16547 on HAR.
12th century, Western Tibet, Ngari district, Manjushri, brass, Jokhang/gTsug Lakhang collection, Lhasa (Tibet), photo and details on Ulrich von Schroeder
Despite the difference in the dating these two items very likely came out of the same workshop, thought to have been in the Ngari area of the ancient Guge kingdom in western Tibet. The kashmiri-style crown has a crescent moon topped with a diamond shape, each point topped with a jewel. All the accessories are richly engraved with geometrical motifs, including a stippled lotus print on the dhoti and fine lines on the extremities of the scarf, the stem of the lotus and the hem of the lower garment. The unrealistic body proportions and doll-like rigidity of these two masterpieces are far removed from Kashmiri standards and suggest that the maker didn’t work from a model. The rounded flaming arch with an inner row of scrolling vines between two rows of beading is a singular and remarkable element in itself. We will note how the scarf/sash or strap across Manjushri’s chest has both ends going round his right side.
11th-12th century, Western Tibet, Vajrapani, bronze (copper alloy) with silver-inlaid eyes, private collection, photo by Koller.
There is another group of early sculptures from Western Tibet depicting standing figures with unrealistic body proportions and whose accessories and clothes are decorated with stippled and incised motifs. They have an exaggerated Indian-style chignon and low crown with showy side bows that stick out, a garment that reaches below the knees (often with a thick hem decorated with incisions), held in place with a belt with a large buckle, adorned with very simple jewellery. On the above example there is a long piece of cloth with a stippled lotus protruding on the left of the bodhisattva.
11th-12th century, (Western?) Tibet, Avalokiteshvara, copper alloy, at the State Hermitage Museum in St Petersburg (Russia).
The stippled and incised patterns are reminiscent of the Ngari sculptures at the beginning of this post.
12th century, Western Tibet, Vajrapani, bronze (copper alloy), private collection.
This Vajrapani has a less rigid pose and a singular hairstyle that looks like a naga hood, enhanced by large side bows, the details of which are rendered with incisions. He wears large hoops, a short necklace with fine incisions and a longer one with three pendants, simple armlets, beaded bracelets, a beaded belt with a diamond-shaped buckle.
The statue once had a backplate.
12th-13th century, Tibet, Vajrapani (labelled Vajrasattva), bronze, private collection.
A similar depiction, with large large side bows decorated with incisions. The dhoti has stippled seams, no lotus print. There is a strap across his chest that splits in two parts around the waist.
11th century, Western Tibet, Avalokiteshvara, private collection.
12th-13th century, Tibet, (Avalokiteshvara) Padmapani, bronze, private collection.
11th century, Tibet, Manjushri, bronze, private collection.
Note the incisions on the lotus, the book and the accessories, the stippled design used for the navel and the nipples as well as on the dhoti and the front of the pedestal, the semi-circular motif on the upper part of the scarf or sash and the hem of the lower garment, the criss-cross design on the piece of cloth or leather across his chest which seems to be a prolongation of the necklace rather than part of the scarf.
Undated, Tibet, Manjushri, copper alloy, at the American Museum of Natural History in New York (USA).
11th-12th century, Western Tibet, bodhisattva Manjushri, copper alloy, 10,2 cm, private collection.
11th-12th century, Western Tibet, Manjushri, copper alloy, private collection.
11th-12th century, Western Tibet, Manjushri, copper alloy, private collection.
The blade of these three swords have the same type of semi-circular motif as the first two images, thought to be proceeding from a Ngari atelier.
Circa 13th century, Western Tibet, Manjushri, copper alloy and pigment, private collection, published by Ian Alsop.
We are back to the (partly broken and simplified) crown with a crescent moon and diamond shape topped with jewels and the above-mentioned sword. There appears to be a celestial scarf around Manjushri’s arms and a sash drawn tightly across his chest and over his long necklace, with one extremity going upwards.
Himalayan Buddhist Art - Art Bouddhiste de l'Himalaya 