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.

Tibet, Vira Vajradharma

15th century, Tibet, Vira Vajradharma, bronze with copper and silver inlay, 14 cm, private collection, photo and extensive notes by Tristan Bruck on Christie’s .

It is the first time we see a statue of Vira Vajradharma (unrelated to Vajradharma Lokeshvara, a 4-arm form of Avalokiteshvara), who is identified through his attributes, a drum, a skull cup, a ritual staff, in conjunction with his skull crown and princely attire. His lips and some flowers on his dhoti are inlaid with copper, his three eyes and other flowers on the garment are inlaid with silver, a technique often seen on 15th and 16th century non-gilt brass works with the same style and the same type of lotus base attributed to the Tsang province. See also the notes and the painting featuring him  next to Vajradhara on  HAR.

Pala India, Avalokiteshvara – various forms (9)

9th century, Northeastern India, Padmapani (Avalokiteshvara), bronze, private collection, photo on Christie’s

The bodhisattva of compassion is seated on a double lotus atop a legged plinth, his left leg pendent, the foot placed on a lotus flower, his right hand dispelling fear, the left one holding lotuses stacked on a single stem. The treatment of the right foot, with the toes held wide apart, is typical of the Pala style.

10th century, India, Khasarpana Lokeshvara, phyllite, private collection, photo on Sotheby’s

This form of Avalokiteshvara may have two or four arms and be standing or seated. He has an effigy of Amitabha in his pile of matted hair but never wears an antelope skin over his left shoulder. In India he often sits with the right leg pendent, the foot placed on a lotus (very large in this case), his right hand in the gesture of supreme generosity, the other holding the stem of a lotus.

13th century, Northeastern India, Vajradharma Lokeshvara? (labelled ‘Padmapani’), bronze, private collection, auction 1878 lot 102, 21st September 2007, Christie’s.

The way he holds the lotus downwards and makes a gesture as if to pluck it with his right hand recalls Vajradharma Lokeshvara, who may have two or four hands and is always seated.

Kashmir, Avalokiteshvara (4)

10th-11th century, Kashmir, Avalokiteshvara, Sugatisamdharshana form, brass, at the Musée Guimet in Paris (Francia), photo by G. Vanneste (rather blurred colour image on Images d’Art ).

Late 10th century, Kashmir, Avalokiteshvara, padmapani, copper alloy (with traces of cold gold), photo on John Siudmak

With rosary and lotus in hand, standing on a lotus with two rows of petals atop a stepped plinth, an effigy of Amitabha in his headdress. The slanted eyes and the hollow navel depart from Kashmiri standards.

11th century, kashmiri artist in Western tibet, Guge, Avalokiteshvara, brass, commissioned by Rinchen Zangpo for a monastery near Tholing and made by a certain Bhidaka, published by Dr Amy Heller on Art Connoisseurs

Commissioned by a Tibetan patron, this sculpture depicts the bodhisattva with a garland of individually crafted flowers, a tall crown with triangular leaves and rosettes, body proportions and facial features that differ from the majority of Kashmiri works. The use of cold gold and paint is also associated with Tibet. His dhoti appears to be inlaid with copper, silver and niello, the nipples and nails with copper, the necklace and belt with silver.

Himachal Pradesh, Poo and Ropa – wood

The following sculptures are made of painted wood and are at two ancient Buddhist monasteries situated in Himachal Pradesh. The photos are from the Western Himalaya Archive Vienna website available on WHAV

Early 11th century, Poo, Vajradharma, wood (repainted in modern times), photo by Christian Luczanits, 1994.

This form of Avalokiteshvara normally has four hands, the main ones pluck a lotus  the other two hold a bow and an arrow, but we have seen painted clay sculptures of him as a vajra bodhisattva, seated and with two hands. On this large work (2m tall) his tall crown comprises two rows of three leaves plus a fourth leaf at the back (some or all of them embossed with the effigy of a buddha), side rosettes and ribbons. He wears a long Indian-style lower garment with stripes.

Apart from the usual garland of flowers and princely jewellery he is adorned with extra ear ornaments worn along the side of the ears. He also has an extra pair of bangles and armbands. 

HP, Poo, donor holding a rosary, wood fragment with traces red paint, photo by Christian Luczanits, 1994.

First half of the 10th century, Himachal Pradesh, Ropa, Avalokiteshvara, painted wood, 120 cm, photo by Christian Luczanits.

Avalokiteshvara in his padmapani form, the right hand doing the gesture of supreme generosity, the other clutching the tall stem of a lotus. He displays Gupta-style body proportions and Kashmiri features such as the plump face with a small mouth and a sharp nose, the wide-open eyes, the plain lower garment shorter on one side and with a sharp point almost reaching the pedestal. The prominent knee caps are often seen on sculptures from Ladakh and nearby areas.

First half of the 10th century, Himachal Pradesh, Ropa, Vajrasattva, painted wood, photo by Christian Luczanits, 1994.

When Vajrasattva holds his vajra sceptre against his heart, his left hand holds a bell against his hip. On paintings he is always seated.

11th century, Ropa, main hall sanctum, Vajradharma (Avalokiteshvara), painted wood, photo by Christian Luczanits, 1994.

On a mandala, Vajradharma is one of the four seated vajra bodhisattvas who accompany Amitabha.

Circa 11th century?, Ropa, main hall sanctum, bodhisattva on a peacock, painted wood, photo by Deborah Kimburg-Salter, 1998.

This unidentified youth with a yellow and green body holds a rosary in his right hand and a snake or a noose in the other. He is seated at royal ease on a peacock, Amitabha’s mount.

Circa 11th century?, Ropa, main hall sanctum, goddess with six arms, painted wood, photo by Christian Luczanits, 1994.

In Monastic art along the Western Himalayan trade routes – Gonpas and Lakhans,  (Dilwar Ram, Himachal Pradesh University, chapter 4,  on shodhganga ) the author identifies this female deity with three heads and six arms as Ushnishavijaya, who normally has eight arms. She holds a large visvajra in her main right hand, an arrow in the next one up, the lower right hand does the gesture of supreme generosity. She has the stem of a lotus in her upper left hand, a water pot in the middle one, a bow in the lower one. Two small figures, attendants or devotees, stand next to her.

Swat Valley, Vajradharma Lokeshvara

9th century, Pakistan, probably Swat Valley, Vajradharma Lokeshvara, bronze, silver inlay, at the Metropolitan Museum of Art (USA).

A rare four-arm form of Avalokiteshvara seated on a lotus base itself on a throne supported by winged animals supposed to be peacocks, holding a bow, an arrow and a lotus bud, which he plucks. There is an effigy of Amitabha at the front of his crown. He wears a richly decorated dhoti, a celestial scarf, and is adorned with a crown, two different earrings, a garland, floral jewellery and a matching belt.