Nepal, historical characters

Circa 17th century, Nepal, Gunajyoti as Vajrasattva and his wives, Yudamani Laksmi and Helmani Laksmi, stone, photo 50236 on Huntington Archive, Chusya Bahal, Jyathatol, Kathmandu City (Nepal).

According to an article by Anil Chitrakar, Gunajyoti Bajracharya was a prosperous trader and Mahayana priest who paid for the original construction of the Chusya bahal, inaugurated in 1667 AD. He is portrayed as buddha Vajrasattva, holding an upright vajra sceptre in the palm of his right hand and a vajra bell in his left hand.

Undated (Licchavi period?), Nepal, devotee, (copper alloy), photo by Sunil Dongol, Dharmadeva Caitya, Chabahil, Kathmandu (Nepal).

Pala India, Shakyamuni (10)

11th-12th century, Northeastern India, Bihar, Nalanda, ‘Buddha seated on a throne’, bronze, 18 cm, Indian and Southeast Asian Art lot 98, 21st September 2007, Christie’s

Shakyamuni seated under the bodhi tree, his right hand in the ‘calling Earth to witness’ gesture, the other displaying the gesture of meditation. The design of the lotus base is typical of the period and area.

(Pala period, Northeastern India), Shakyamuni, metal, photo by Sunil Dongol, Dharmadeva Caitya, Chabahil (Kathmandu, Nepal).

Shakaymuni holding a piece of his garment in his left hand and a small object in the other, resembling a manuscript. A dharma wheel is embossed in the palm of his hand and probably on the sole of each foot.

(Pala period, Northeastern India), Shakyamuni, metal, 10,2 cm, photo by Sunil Dongol, 2010, Dharmadeva Caitya as before.

Seated on a Nalanda-style lotus base with a flaming halo attached to it and a parasol above it, typical of the Pala period. He has both hands in the gesture of meditation to hold a bowl. The monkey attached to the base is perhaps an allusion to his previous reincarnation.

(Pala period, Northeastern India), Shakyamuni, metal, photo by Sunil Dongol, 2010, Dharmadeva Caitya, as before.

(Pala period, circa 11th century?, Northeastern India), Shakyamuni, metal, photo by Sunil Dongol, Dharmadeva Caitya as before.

We saw  on VMIS a similar statue of the crowned Buddha found at Kurkihar and kept at the Patna Museum. He wears a monastic garment that covers both shoulders and is adorned with a pointed crown with rosettes, earrings, a necklace. His right hand is raised to dispel fear, the other clutches the hem of his garment.

(Pala period, Northeastern India), Shakyamuni, metal, photo by Sunil Dongol, Dharmadeva Caitya, Carumati Stupa, Chabahil (Kathmandu, Nepal).

Pala India, Tara (8)

Circa 10th century, Northeastern India, Tara, stone, 45 cm, private collection, Asian Art A181AS lot 430, 14th June 2017, Koller

Green Tara seated with the left leg pendent, her right hand displaying the gesture of supreme generosity, her left hand placed on the lotus base and holding the stem of a blue water lily.

Circa 10th century, Northeastern India, Tara, stone, 8 cm, Asian Art A183AS lot 399, 4th December 2017, Koller

(Pala period, Northeastern India), Tara, metal, 15,4 cm, photo by Sunil Dongol, Dharmadeva Caitya, Chabahil (Kathmandu, Nepal).

This one holds a round object, such as a seed or a pill.

11th-12th century, Northeastern India, Tara, stone, 70 cm, Asian Art A152AS lot 338, 27th March 2010, Koller Update 19/2/24: a reader pointed out that this is in fact Avalokitesvhara …

9th-10th century, Northeastern India, Tara, stone, 47 cm, the face heavily restored, private collection, Asian Art A144AS lot 373, 15th March 2008 Koller

White Tara flanked by open flowers that support elephants overturning pots of gems over her head.

11th century, Northeastern India, Tara, copper alloy, 16,7 cm, private collection, Images of Devotion lot 1856, 1st December 2023, Bonhams (Hong Kong).

Nepal, Shakyamuni – standing

Nepal, Shakyamuni, (gilt copper?), 4,8 cm, photo by Sunil Dongol, 2010, Dharmadeva Caitya, Chabahil (Kathmandu, Nepal).

Nepal, Shakyamuni, (gilt copper?), 6,8 cm, photo by Sunil Dongol, as before.

Nepal, Shakyamuni, (gilt copper?), 4,4 cm, photo by Sunil Dongol, 2010, as before.

Nepal, Shakyamuni, (copper?), photo by Sunil Dongol, 2010, Dharmadeva Caitya, Carumati Stupa, Chabahil (Kathmandu, Nepal).

9th century, Nepal, Sankhu, Shakyamuni, bronze, size not given, photo nº5 from the Buddhist Art Gallery, Photographs section on wisdomlib, at the National Museum of Nepal.

Shakyamuni in his crowned buddha form.

16th century, Nepal, Buddha (Shakyamuni), gilt copper, 91 cm, private collection, photo on Lost Arts of Nepal

The unusual style of this buddha is somewhat reminiscent of (earlier) Khasa Malla Kingdom works.

Nepal, Manjushri – various forms (3)

Nepal, Licchavi period?, Manjushri?, gilt copper, 7 cm, photo by Sunil Dongol, 2010, Dharmadeva Caitya, Chabahil (Kathmandu, Nepal).

The hair divided in three bunches (trishiki) is a distinctive feature of Manjushri, depicted here as a youth holding a seed or a bud in his right hand (we saw a similar object in the hand of a Manjushri – from the Potala Collection – which Ulrich von Schroeder identifies as the bud of a blue lily).

7th-8th century, Nepal, Manjushri, gilt copper, 58,5 cm, private collection, published on Lost Arts of Nepal

A similar depiction, with a large round object in the right hand and a smaller one in the other.

11th century, Nepal, Dharmasankahasamadi Manjushri, gilt copper, 12,7 cm, accession nº 68.8.26 at the Virginia Museum of Fine Art (USA).

Also known as Amitabha-Manjushri, this rare form of the bodhisattva, with a white body on paintings, sits with his legs locked and both hands in the gesture of meditation but he doesn’t hold any attribute. The above is on a stepped throne with a couple of nagas in front of it.

12th century, Nepal, Manjushri or Amitayus? (labelled ‘Amitabha’), gilt copper, size and accession number not given, photo on Lost Arts of Nepal, at the Palace Museum in Taipei (Taiwan).

A strikingly similar image.

Nepal, Manjushri, stone, 72 cm, photo by Sunil Dongol, 2014, Sri Karmaraja Mahavihara, Swayambhu (Kathmandu, Nepal).

Namasangiti Manjushri with one head and four arms, holding a sword and a bow in his upper hands, an arrow and a book missing from his main hands.

Undated, Nepal, Manjushri and consort, stone, 107 cm, photo by Sukra Sagar Shrestha, 1989.

A rare example with one head and six arms, seated with a leg pendent and holding a sword and a blue water lily in his upper hands, an arrow and a bow in the middle ones, the lower right hand displays the gesture of generosity, the left one usually holds a branch of ashoka.  His consort, possibly Prajnaparamita, is seated on his lap.

16th century, Nepal, Kathmandu Valley, Manjushri, gilt bronze with stone inlay, 22 cm, photo on wisdomlib, at the National Museum of Nepal.

The caption doesn’t specify whether this figure with six arms has three or four heads. There is a three-head and six-arm form mentioned in the Manjushri Namasangiti Tantra, who usually has his hands crossed over his heart, either empty or holding a vajra sceptre each. The above makes the gesture of generosity with his right hand and presses a book against his heart with the other.

18th century, Nepal, Manjushri with two female deities (labelled ‘with Shakti’), gilt bronze, 75 cm, photo on wisdomlib, at the National Museum of Nepal.

The same iconography with, presumably, his consort/shakti to his right, holding a lotus, and Green Tara on the other side, holding a blue water lily.

Nepal, Manjushri, Vagisvara, stone, photo by Ulrich von Schroeder, 2013.

Rarely seen in sculpture, Dharmadatu Vagisvara may have three to five heads and six to eight arms. This one holds a sword and a large book in his upper hands, an arrow (broken) and a bow in the middle ones, the lower right hand displays the boon-granting gesture, the left one holds what looks like a flaming jewel.

18th century, (Nepal or Nepalese work in Tibet?), Namasangiti Manjushri, bronze, 19 cm, (the lotus base probably belongs to a different work), Northern Himalayan Section on wisdomlib, at the National Museum of Nepal.

Rarely seen outside Nepal, this form of Manjushri, called Mayajala Manjushri on HAR, has one head and six pairs of hands, which represent the five tathagatas (Amitabha, Akshobhya, Amoghasiddhi, Ratnasambhava, Vairocana) plus Vajrasattva. According to John Huntington and Dina Bangdel he embodies the Arya Manjushri Namasangiti Tantra (see more on Circle of Bliss). The upper hands are held above his head to symbolise Mount Meru. The next ones hold a sword and a ritual staff (missing here) and another pair makes the gesture of debate. The main hands make a similar gesture before his chest but with the palm out, the ones below pour nectar into the bowl he holds in his lowest pair of hands, which contains the head of Shakyamuni.

Nepal, Manjushri triad, stone, photo by Gerd Mevissen, 2007, at the Jana Baha in Dhoka, Kathmandu (Nepal).

Nepal, Shakyamuni – seated (3)

Circa 5th century, Nepal, The First Sermon of Buddha Shakyamuni, stone, photo: courtesy of Ulrich von Schroeder, Nepalese Stone Sculptures, p. 816, Fig. VII-1b, taken in November 2013, Vidyeshvari Monastery, Vishnumati, Kathmandu (Nepal).

Nepal, Shakyamuni, (gilt copper?), photo: courtesy of Ulrich von Schroeder, 2010, Dharmadeva Caitya, Chabahil (Kathmandu, Nepal).

Shakyamuni making the gesture of debate with his right hand.

Nepal, Shakyamuni, (gilt copper and pigments?), photo by Sunil Dongol, 2010, as before.

Shakyamuni seated on nagas, his hands in the gesture of meditation.

Nepal, Shakyamuni, (copper?), 10,1 cm, photo by Sunil Dongol, 2010, Dharmadeva Caitya, Carumati Stupa, Chabahil (Kathmandu, Nepal).

Nepal, Shakyamuni, (copper?), 8,9 cm, photo by Sunil Dongol, 2010, as above.

Nepal, Shakyamuni, (copper?), 8,5 cm, photo by Sunil Dongol, as above.

Nepal, Shakyamuni, (gilt copper?), 4,5 cm, photo by Sunil Dongol, 2010, Dharmadeva Caitya, Chabahil (Kathmandu, Nepal).

Nepal, Shakyamuni, (gilt copper?), 7,6 cm, photo by Sunil Dongol, 2010, as above.

Nepal, Avalokiteshvara – standing (8)

Circa 10th century, Nepal, ‘Srstikarta-Lokeshvara, presumably flanked by Tara and Bhrkuti’, stone, photo: courtesy of Ulrich von Schroeder, Nepalese Stone Sculptures – Buddhist, p. 1013, fig. VIII-4, at the Tadham Baha at Otu (Wotu) in Kathmandu (Nepal).

(Transitional Period?), Nepal, Avalokiteshvara, (gilt copper?), photo by Sunil Dongol, Dharmadeva Caitya, Chabahil (Kathmandu, Nepal).

Same as before, gilt copper, 23,5 cm, photo Sunil Dongol, 2010, Dharmadeva Caitya as above.

Same as before, (gilt copper?), 40 cm, photo by Sunil Dongol, Dharmadeva Caitya as above.

Same as before, (copper?), photo Sunil Dongol, 2010, Dharmadeva Caitya as above.

Nepal, Avalokiteshvara, stone, 33 cm, photo Sunil Dongol, 2014, Hanuman Dhoka Police Station (Kathmandu, Nepal).

17th century, Nepal, Avalokiteshvara, wood, photo on wisdomlib, at the National Museum of Nepal.

17th century, (Nepal), Lokeshvara, stone, 63 cm, Northern Himalayan Section photo 143 on wisdomlib, at the National Museum of Nepal.

18th century, Nepal, Kathmandu Valley, Padmapani Lokesvhara, gilt metal, 36 cm, photo on wisdomlib, at the National Museum of Nepal.

Nepal, Amoghapasha Lokeshvara

Labelled ‘1100-1199, Nepal, Avalokiteshvara – Amoghapasha’, (gilt copper or copper alloy18th), private collection, photo on HAR

In his eight-arm form, Amoghapasha always has a tridandi (trident made of lotus stalks) in one of his left hands, and if another left hand holds a ritual water pot, as above, then the lower right hand makes the gesture of supreme generosity, the main one makes the fear-allaying gesture, the remaining right hands hold a rosary and a noose. The remaining left hands hold a manuscript and a lotus stalk or bud respectively. In the main page devoted to this bodhisattva on HAR , a distinction is made between Amoghapasha and Lokeshvara/Avalokiteshvara, yet the heading for this sculpture mentions both names, which is confusing. Whether or not Amoghapasha is a form of Lokeshvara, he certainly has a different iconography, and always holds a noose, which is his main attribute and distinguishes his six-arm form from the six-arm form of Avalokiteshvara, for instance. His most common forms have one head and six or eight arms but he may have twelve, and even up to twenty according to Alice Getty.

17th century, Nepal, Amogapasa, copper alloy with remains of gilding, 15 cm, private collection, Asian Art A142AS lot 126,22nd September 2007, Koller

17th-18th century, Nepal, Amoghapasha, gilt bronze, 22 cm, private collection, European and Asian Art lot 280, 6th June 2023, Loeckx.

Undated, Nepal, Amoghapasha, stone, 65 cm, photo by Sunil Dongol, 2014, at Svayambhu (Nepal).

Undated, Nepal, Amoghapasha, stone, 55 cm, photo by Sunil Dongol, 2015, Chhusya Bahal, Kathmandu (Nepal).

18th century, Nepal, Amoghapasha, copper alloy, 17,5 cm, private collection, Asian Art Auction W249AS lot 1007, 6th June 2016, Koller

Late works don’t always follow the standard iconography, as is the case with this eight-arm Amoghapasha whose tridandi is in one of his right hands (which normally corresponds to the six-arm form).

Nepal, Vasudhara (15)

Vasudhara, goddess of wealth and harvest, is particularly worshipped in Nepal, where portable sculptures usually depict her in her one-head (with three eyes) and six-arm form.

‘9th century, Nepal, Vasudhara, gilt copper, 10,5 cm, private collection’ according to Lost Arts of Nepal

The above wears a long dhoti with a stippled lotus print and a matching sash or scarf across her chest. It is most unusual for her to sit with both legs folded. We saw another example, on HAR (from the Potala collection, dated 10th/11th century in Buddhist Sculptures in Tibet Volume One, p. 487, pl. 154 C by Ulrich von Schroeder).

Undated (Transitional Period), Nepal, Vasudhara, (copper alloy?), Chabahil, Kathmandu (Nepal). Anonymous photographer, photo kindly provided by Ulrich von Schroeder.

She always raises her right hand as if to accompany music or singing, the next hand holds jewels, the lower right hand makes the gesture of supreme generosity and may hold a fruit or a lotus bud. Her left hands hold a book, a sheaf of grain, a long-life vase or a pot of jewels.

Undated (Transitional Period), Nepal, Vasudhara, (copper?), 9 cm, Chabahil, Kathmandu (Nepal). Photo by Sunil Dongol, 2010.

During the Transitional Period, crowns are usually made of a large central leaf and two smaller ones, and the lotus base often has distinctive flat, broad petals with an upturned pointed end.

’12th-13th century, Nepal, Vasudhara, gilt copper, 10,3 cm, private collection’ according to Lost Arts of Nepal

Undated, Nepal or Nepalese artist in Tibet? (labelled ‘Chinese’), gilt bronze, 9,8 cm, private collection, photo on invaluable

17th century, Nepal, Vasudhara (labelled ‘Avalokiteshvara’), gilt bronze with gems, 14 cm, private collection, Fine Chinese Art lot 330, 6th November 2008, Bonhams (London).

17th-18th century, Nepal, Vasudhara, gilt bronze, 18,3 cm, private collection, 9th September 2016 lot 14, Lempertz

The Malla Period crown is normally made of five leaves. The central one is larger than the rest and often rests on what looks like a crescent but is in fact a miniature Kirtimukha, or a garuda with jewelled vegetation in its mouth – a design derived from the original Kirtimukha in a cloudscape theme (see the article by Gautama V. Vajracharya ).

Nepal, Mahakala shrines (4)

Undated, Nepal, Mahakala, stone, 140 cm, photo by Ulrich von Schroeder, 2012, East of the Baha compound, Kathmandu (Nepal).

Undated, Nepal, Mahakala, stone, 182 cm, photo by Sunil Dongol, 2014, Dudhpati Ganesa, Bakhtapur (Nepal).

Undated, Nepal, Mahakala, stone, 84 cm, photo by Ulrich von Schroeder, 2013, Jenal Tole, Bhaktapur (Nepal).

Again, we see that in Nepalese sculpture the panjarnata form of Mahakala (one head, two arms, squatting on a victim, holding a flaying knife and a skull cup before his heart), has a ritual staff in the crook of his left arm, while in Tibet he usually has a flat stick called danda across his arms.