Padmapani Lokeshvara

This bronze once belonged to the royal collection of Prince Nagaraja, son of King Yeshe-O (c. 959-1040) of the Guge Kingdom in Western Tibet.  Prince Nagaraja (c. 988–1026) played a pivotal role in the Later Transmission of Buddhism to Tibet, a movement spanning the 10th to 12th centuries.  His father famously invited the Indian monk Atisha (982-1054) to revive and reform Buddhism in Tibet, marking a significant moment in this religious renaissance.  Without the Tibetans' quest for a 'purer' form of Buddhism from Northern India's monasteries, such as those in Kashmir, the vast tantric systems of Indian Buddhism might have been lost during the conquests of Muhammad Ghur (1175-1206).

In 2003, Ulrich von Schroeder identified a series of bronzes from Nagaraja's collection. Notably, large examples of Buddha statues in the Cleveland Museum of Art (acc.#1966.30) and the Potala Palace bear detailed inscriptions that explicitly link them to Latsun Nagaraja, reinforcing the scholarship surrounding this 11th-century connoisseur of Kashmir and Western Tibetan sculpture. (For a detailed list and examples, see von Schroeder's Buddhist Sculptures in Tibet, Vol. I, Hong Kong, 2003, p. 84 & pp.126-7, no. 28A-D.)

Rob Linrothe’s study of Western Tibetan 'collectors' of Buddhist sculpture reveals that Kashmir bronzes, such as the present piece, were believed to enhance the prosperity and religiosity of monasteries and their supporters.  This sentiment underscores the importance of these artifacts in sustaining Buddhist practice and culture. (See Linrothe (ed.), Collecting Paradise, Hong Kong, 2014, p. 7.)

Luczanits, in discussing Nagaraja's collection, states, "Judging from the bronzes he had in his possession, among them very early and extremely sophisticated works from Gilgit and Kashmir, Nagaraja was a true connoisseur of Western Himalayan bronzes." (ibid., p. 115)

This bronze of Avalokiteshvara Padmapani is a testament to Nagaraja’s refined taste.  Identified by the Akshobhya silhouette in his crown and the blooming lotus above his shoulder, the figure exhibits an elegant, lithe form.  The caster masterfully created a convex forward lean from feet to shoulders, highlighting the graceful ‘thrice-bent’ pose (tribhanga).  The thighs have a lustrous, glossy patina, indicative of years of devotional handling.  The smooth right leg contrasts pleasingly with the ridged left leg, thanks to the rippling sash, offering a tactile experience for devotees.

Comparable Avalokiteshvara statues in the 10th/11th-century Kashmir style can be found in notable collections such as the Potala Palace, the Museum Rietberg, and the Lahiri collection. (See von Schroeder's Buddhist Sculptures in Tibet, Vol. I, p.146, nos. 37A-B; Uhlig's On the Path to Enlightenment, Zurich, 1995, pp. 88-9, no.43; and Pal's Himalayas: An Aesthetic Adventure, Chicago, 2003, p.140, no. 89.)

Dr. Pratapaditya Pal suggests that the uniformity of these figures' facial features, attire, and slender forms implies they are likely modeled after a significant regional cult image yet to be identified. This phenomenon of creating cult images and their replicas is common in Indian, Chinese, and Himalayan religious art, as seen in examples like the Phakpa Lokeshvara, Uddiyana Buddha, and Mahabodhi Buddha.

This bronze Avalokiteshvara Padmapani serves as a prime example of the sophisticated artistry and deep cultural significance of Western Himalayan bronzes. Its provenance from Prince Nagaraja’s collection further enhances its historical and scholarly importance, making it a crucial piece in the study of early Tibetan and Kashmir Buddhist sculpture.