A GILT-COPPER FIGURE OF PADMAPANI LOKESHVARA
A GILT-COPPER FIGURE OF PADMAPANI LOKESHVARA
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A GILT-COPPER FIGURE OF PADMAPANI LOKESHVARA

NEPAL, 13TH CENTURY

Details
A GILT-COPPER FIGURE OF PADMAPANI LOKESHVARA
NEPAL, 13TH CENTURY
The figure is gracefully standing in tribhanga with his right hand lowered in varada mudra, and holding a lotus flower in his left that extends up to his shoulder.  The figure is wearing a short dhoti incised with floral blooms and is secured with a sash tied at the waist that suspends folded ribbons extending to the knees.  The deity is adorned with a necklace embellished with pendent jewels, florette armlets and large looped earrings.  The face with a fine nose between gently arched brows above eyes downcast to portray a benign expression.  The head is crowned with a foliate tiara centred by large lotus bloom and flanked by tresses of hair falling down on both shoulders.
8 1/4 in. (21 cm.) high
Provenance
Acquired in Germany before 1989

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Priscilla Kong
Priscilla Kong

Lot Essay

Avalokitesvara, the ‘Lord who looks upon the World’, is the bodhisattva of compassion, and one of the principle deities in Mahayana Buddhism. Although he has attained enlightenment like the Buddha, the bodhisattva forgoes his escape from the suffering of rebirth to act as a guide to all living beings until they themselves have achieved nirvana. Worshipped in many guises, the present figure is depicted as Padmapani, the ‘holder of the lotus’.  Like the lotus, which rises from its murky bed below the water to blossom in the air, Padmapani has detached himself from the pain and impurities of the material world and is enlightened in body, speech, and mind.

Worshipped in Nepal from at least the mid-6th century, Avalokitesvara was one of the most popular Buddhist deities in the Kathmandu Valley, his worship rivaling that of the Buddha himself. With time, the compassionate characteristics of Avalokitesvara became intertwined with the attributes of the local Nepalese deities such as the rain god, Bunga-dyo, and even the Brahmanical Shiva, and the customs for worship of these different gods were integrated into one another. Demand for images of this auspicious bodhisattva was therefore staggering, and from an early period, craftsmen throughout the valley were executing works in wood, stone, paint, and bronze.

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