Bodhisattva Avalokitesvara
Sculpture
10th century (made)
10th century (made)
| Artist/Maker | |
| Place of origin |
Here the supreme Buddhist saviour Avalokitesvara raises his hand in a gesture of reassurance and protection to his devotees. The gesture underscores the role of the bodhisattva, as the supreme expression of the Mahayana Buddhist concept of the compassionate saviour. (Bodhisattava is the name given to one on the path towards becoming a buddha.)
The figure is flanked by a lotus stem and flower asserting his dual title as Padmapani, the ‘Lotus-bearer’. He wears a three-pointed crown (mukuta) in the centre of which is the figure of Amitabha, the Buddha of Eternal Light and his spiritual mentor. An antelope skin (mrigajma), Avalokitesvara’s principal attribute, is tied firmly across his chest.
Several features reflect stylistic conventions that were part of the tradition of the Gupta period (320-about 540 AD) tradition that were well-preserved in Kashmir. These include the conventional folds of the figure’s neck (kombu-griva), the flexed torso and masterfully modelled pleats of the waist-skirt.
The dating of Kashmir Buddhist sculpture is problematic, but this example has a close stylistic correspondence with one of the few dated Kashmiri bronzes. In this instance it is the Sugatisandarsana Lokesvara, which was dedicated during the reign of Queen Didda (980-1003).
The figure is flanked by a lotus stem and flower asserting his dual title as Padmapani, the ‘Lotus-bearer’. He wears a three-pointed crown (mukuta) in the centre of which is the figure of Amitabha, the Buddha of Eternal Light and his spiritual mentor. An antelope skin (mrigajma), Avalokitesvara’s principal attribute, is tied firmly across his chest.
Several features reflect stylistic conventions that were part of the tradition of the Gupta period (320-about 540 AD) tradition that were well-preserved in Kashmir. These include the conventional folds of the figure’s neck (kombu-griva), the flexed torso and masterfully modelled pleats of the waist-skirt.
The dating of Kashmir Buddhist sculpture is problematic, but this example has a close stylistic correspondence with one of the few dated Kashmiri bronzes. In this instance it is the Sugatisandarsana Lokesvara, which was dedicated during the reign of Queen Didda (980-1003).
Object details
| Categories | |
| Object type | |
| Title | Bodhisattva Avalokitesvara (generic title) |
| Materials and techniques | Bronze, with copper inlay |
| Brief description | Bodhisattva Avalokitesvara |
| Physical description | The supreme Buddhist saviour Avalokitesvara stands on a double-lotus pedestal with an opulent flower garland (vanamala) surrounded by a pearl and flame aureole. He is crowned with a three-pointed mukuta, in the centre of which is the figure of Amitabha, his spiritual mentor. Jewelled waistbands and ornaments adorn the figure and an antelope skin (mrigajma) is tied firmly across his chest, both are attributes of Avalokitesvara. |
| Dimensions |
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| Gallery label |
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| Object history | Bought from Spink & Son US $ 30,000. |
| Historical context | This bronze bears a contemporary inscription recording that it was dedicated during the reign of Queen Didda, who is known to have ruled Kashmir between 980 and 1003 AD. |
| Production | Kashmir, North India |
| Subject depicted | |
| Summary | Here the supreme Buddhist saviour Avalokitesvara raises his hand in a gesture of reassurance and protection to his devotees. The gesture underscores the role of the bodhisattva, as the supreme expression of the Mahayana Buddhist concept of the compassionate saviour. (Bodhisattava is the name given to one on the path towards becoming a buddha.) The figure is flanked by a lotus stem and flower asserting his dual title as Padmapani, the ‘Lotus-bearer’. He wears a three-pointed crown (mukuta) in the centre of which is the figure of Amitabha, the Buddha of Eternal Light and his spiritual mentor. An antelope skin (mrigajma), Avalokitesvara’s principal attribute, is tied firmly across his chest. Several features reflect stylistic conventions that were part of the tradition of the Gupta period (320-about 540 AD) tradition that were well-preserved in Kashmir. These include the conventional folds of the figure’s neck (kombu-griva), the flexed torso and masterfully modelled pleats of the waist-skirt. The dating of Kashmir Buddhist sculpture is problematic, but this example has a close stylistic correspondence with one of the few dated Kashmiri bronzes. In this instance it is the Sugatisandarsana Lokesvara, which was dedicated during the reign of Queen Didda (980-1003). |
| Bibliographic reference | L'escultura en el temples indis : l'art de la devoció : exposició organitzada per la Fundació "La Caixa" i el Victoria & Albert Museum, Londres. [Barcelona: Obra social, Fundació "la Caixa", c2007 Number: 9788476649466
p.105, Cat.105 |
| Collection | |
| Accession number | IS.26-1987 |
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| Record created | August 1, 2002 |
| Record URL |
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