Buddhist Sculptures

Exquisite sculptures of Buddha from various cultures, showcasing intricate details and golden finishes in serene poses.

Buddha sitting on a lotus throne; 19th century (1801-00-00-1900-00-00);

Standing Buddha, c. 800s. Burma (Myanmar). Kaolinite; overall: 13.9 cm (5 1/2 in.).

Amida, the Buddha of Infinite Light (Amitabha) ca. 1250 Japan Amida Nyorai (Sanskrit: Amitabha Tathagata), the Buddha of Limitless Light, sits upon a lotus pedestal with his hands forming the mudra of meditation. Amida presides over his own paradise, the Western Pure Land, to which he welcomes any being who calls upon his name. His benevolent gaze, directed toward the viewer below, is symbolic of this boundless compassion. The Pure Land sects of Buddhism, with their emphasis on salvation through faith, stirred the imagination of both courtiers and commoners alike, and temples dedicated to Amida were constructed throughout Japan. Originally installed at a temple in the vicinity of Mount Kya, this sculpture and the Dainichi Nyorai on the central altar were both acquired by the Museum through negotiations with Yamanaka & Co., the pioneering dealers in Japanese art.. Amida, the Buddha of Infinite Light (Amitabha). Japan. ca. 1250. Wood with gold leaf. Kamakura period (1185-1333). Sculptur

Seated Buddha. Culture: India. Dimensions: H. 7 in. (17.8 cm). Date: late 6th-first half of the 7th century. Museum: Metropolitan Museum of Art, New York, USA.

Buddha sitting on a lotus throne; 19th century (1801-00-00-1900-00-00);

'Buddha Maravijaya (Buddha Calling the Earth to Witness)'. Siam (now Thailand).Lanna art (Extreme North area), Late 15th century (). Dimensions: h. 26 cm. Museum: State Hermitage, St. Petersburg.

Buddha, probably Akshobhya (Achu fo). Culture: China. Dimensions: H. 9 1/4 in. (23.5 cm); W. 6 1/2 in. (16.5 cm); D. 4 1/4 in. (10.8 cm). Date: dated 1411.The Buddha is shown in the attitude of preaching with one finger of the right hand extended to call the earth to witness and the left hand in the abhaya mudra. A removable panel in the back reveals a cavity that contained a group of silks symbolizing the five vital organs together with seeds, sym-bolic objects, and prayers, one of which carried a date corresponding to May 9, 1411. Museum: Metropolitan Museum of Art, New York, USA.

Buddha. Buddha sat on lotus cushion in Wajrasana, executed in black-gray limestone. On base.

Seated Transcendent Buddha Vairochana ca. late 9th century Indonesia (Java) This splendid Buddha is seated on a large double-lotus pedestal in the cross-legged yogic, adamantine posture of vajraparyankasana, the right leg over the left, with the soles of both feet facing upward. His robe is draped to leave the right shoulder bare, and a portion of the garment that covers the left wrist falls behind the figure. The lower hem of the robe comes all the way down so that the undercloth or skirt is completely covered.The Buddha's raised right hand makes the teaching or expository gesture (vitarkamudra) and his left rests on his right foot, in a gesture that approximates the dhyanamudra, or meditative gesture. This combination is one assigned to Vairochana, a transcendent Buddha that plays an important role in early Esoteric Buddhism and provides the basis for the tentative identification of this figure, which may have been part of a larger three-dimensional assemblage such as a mandala.. Sea

Seated Buddha late 15th-16th century Thailand. Seated Buddha 39112

Bodhisattva Avalokiteshvara 8th-early 9th century Southern Thailand or Sumatra This four-armed Avalokiteshvara exemplifies the finest qualities associated with the pan-Asian cult of the savior bodhisattva. Through its grace and humanism, the work embodies the qualities of compassion central to Buddhist ethics. It may have been made in Sumatra or in the Malay Peninsula, regions linked by commercial activity in which religious imagery could readily circulate. Chinese pilgrim sources tell of major monasteries that prospered in both areas.cat. no. 158. Bodhisattva Avalokiteshvara. Southern Thailand or Sumatra. 8th-early 9th century. Copper alloy. Sculpture

Buddha, possibly Amitabha, on a peacock 15th century China This is a rare representation of a Buddha riding on a peacock. The choice of mount suggests that the figure may be Buddha Amitabha, celestial Buddha of the West.. Buddha, possibly Amitabha, on a peacock. China. 15th century. Linden wood with traces of pigment. Ming dynasty (1368-1644). Sculpture

Buddha. China. Date: 618 AD-907 AD. Dimensions: H. 219.7 cm (86.5 in.); diam. 111 cm (43.7 in.). Limestone with traces of polychromy. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Bodhisattva, 700s. China, Tang dynasty (618-907). Dry lacquer; overall: 44 x 37 cm (17 5/16 x 14 9/16 in.).

Padmasambhava (Guru Rinpoche, 8th century). Bhutan, 17th-18th century. Sculpture. Amalgam gilt copper alloy

Buddha Buddha, Thailand, 15th century, bronze, MuEC, Barcelona, Catalonia, Spain LicenseRF Copyright: xZoonar.com/BartomeuxBalaguerxRotgerx 23171359

Seated Buddha, 800s. India, Bengal(), Pala period, 9th century. Bronze; overall: 12.1 cm (4 3/4 in.).

Buddha Expounding the Dharma late 8th century Sri Lanka (Anuradhapura) The quintessential icon of early Buddhist Sri Lanka is the Buddha gesturing vitarka-mudra, imparting his dharma to all. Seated in a meditative yogic posture, he wears the monks uttarasanga, an untailored length of cloth drawn tautly around the body, with his right shoulder exposed in the southern manner of Buddhism. His hair is expressed in short, tight curls to evoke his renunciation of the material world, when he cut off his hair and gave away his princely adornments. The eye sockets were inlaid with precious stones or rock crystal to add a heightened level of realism. The flame-shaped head protuberance (ushniha) is one of the principal auspicious markings (lakshanas) of Buddhahood.. Buddha Expounding the Dharma. Sri Lanka (Anuradhapura). late 8th century. Copper alloy. late Anuradhapura period (750-850). Sculpture

'Vajradhara'. Tibet, 18th century. Dimensions: height 19 cm. Museum: State Hermitage, St. Petersburg.

Seated Buddha 7th-8th century India (Kashmir region). Seated Buddha 39339

The Bodhisattva Monju (Manjushri) with Eight Topknots late 13th century Japan This miniature sculpture represents a distinctive form of the bodhisattva Monju, who personifies Buddhist wisdom. This iteration of the deity shows him with his hair coiffed into eight knots, corresponding to the number of syllables in a corresponding incantation. It probably once formed part of a decorative program for the mandorla (aureole) of a much larger sculpture.. The Bodhisattva Monju (Manjushri) with Eight Topknots. Japan. late 13th century. Gilt bronze. Kamakura Period (1185-1333). Sculpture

Ancient Buddha sculpture, bronze, gilded, Lama Tsongkhapa, from Tibet

Dicang (Khsitigarbha), or He Who Encompasses the Earth, Seated and Holding a Wish-Bearing Jewel (Cintamani) 701 CE-800 CE China. GIlt copper alloy .

Padmapani Lokeshvara Seated on the Rock, 8th Century. India, Kashmir, 8th century. Bronze with silver overlay; overall: 11.5 cm (4 1/2 in.); base: 6.3 cm (2 1/2 in.).

Buddha, Anonymous, 1500 - 1700 Statue of Buddha Marvijaya, sitting on profiled pedestal. Nakhon si thhermarat bronze (metal) Statue of Buddha Marvijaya, sitting on profiled pedestal. Nakhon si thhermarat bronze (metal)

Stele with Sakyamuni and Bodhisattvas, 537. China, Hebei province, Eastern Wei dynasty (534-550). Limestone; overall: 77.5 x 44.4 cm (30 1/2 x 17 1/2 in.).

The Bodhisattva Avalokitesvara, 1403-1424, 10 1/8 x 6 1/2 x 6 3/8 in. (25.72 x 16.51 x 16.19 cm), Gilt bronze, China, 15th century, A bodhisattva is a deity who has attained the highest level of enlightenment but delays entering paradise to aid earthly beings. This sculpture depicts Avalokiteshvara, the bodhisattva of infinite compassion. His right hand is in the gift-giving gesture, or mudra, and the left is in the teaching mudra. Each hand holds a curving lotus stalk, whose blooms symbolize purity and frame the regally attired gilt deity. In the hair behind the crown, you can see a tiny Amitabha, the cosmic Buddha who created Avalokiteshvara to guide sentient beings on the path to enlightenment. The underside of this sculpture bears a six-character mark, dating it to the reign and workshop of the Chinese Ming dynasty Emperor Yongle (1403- 24). A devotee and patron of Tibetan Buddhism, Emperor Yongle sent gifts to Tibet to strengthen political and religious relationships with its lead

Amoghasiddhi Buddha, 1403-1424, 7 11/16 x 5 11/16 x 3 3/4 in. (19.5 x 14.4 x 9.5 cm), Lacquer and gold on sandalwood core, China, 15th century, Amoghasiddhi is one the Five Cosmic Buddhas of the Mahayana tradition. It is believed that after the historic Buddha attained enlightenment and ascended to the heavens, he preached to the gods, some of whom became enlightened beings, or buddhas, themselves. These five preside over the four cardinal directions (north, south, east, and west) and also the center. A devotees goal is to be reborn into one of their realms.

Udyana, Image of Buddha China. Udyana, Image of Buddha 61672

Antique jade Buddha statue, China, Asia

. Amida (the Buddha of the Western Paradise) is still popular in Japan. To be reborn in the Western Paradise requires a firm faith in Amida and the repeated chanting of his name. This figures soft, round face is characteristic of Japanese Buddha sculptures from the 12th century. The elegant facial features have been stylized, as have the hands and the drapery folds.

Bodhisattva with Radiate Halo and Mandorla 6th century Pakistan (ancient region of Gandhara) or India (Jammu & Kashmir) This bodhisattva, holding a lotus (padma), likely represents Avalokiteshvara Padmapani. Portable images stylistically related to this one circulated in Gandhara, Kashmir, and as far north as the Central Asian Buddhist kingdom of Khotan, an important trading center on the Silk Road.. Bodhisattva with Radiate Halo and Mandorla. Pakistan (ancient region of Gandhara) or India (Jammu & Kashmir). 6th century. Phyllitic grey schist. Sculpture

Manjushri, the Bodhisattva of Transcendent Wisdom 12th century Tibet Manjushri and his counterpart, Prajnaparamita, the wisdom goddess, are understood as personifications of awakened knowledge. Both display the palm-leaf manuscript (pustaka) as their principal identifier. Manjushri wields a sword, symbolizing the cutting away of all impediments to enlightenment. Here the blade is missing, but the hilt is visible in the projecting hand.. Manjushri, the Bodhisattva of Transcendent Wisdom. Tibet. 12th century. Brass with traces of gilding and color. Sculpture

The Buddha Amida, anonymous, c. 1125 - c. 1175 Amida Nyorai (Buddha Amitabha), sitting in Lotus posture. Japan wood (plant material) Amida Nyorai (Buddha Amitabha), sitting in Lotus posture. Japan wood (plant material)

Seated Buddha. Korea, Goryeo dynasty (918-1392), 10th century. Sculpture. Cast iron

Buddha Calling the Earth to Witness (Bhumisparshamudra). India; Eastern India. Date: 701 AD-1000. Dimensions: 16.5 x 13.4 x 6 cm (6 1/2 x 5 5 1/4 x 2 3/8 in.). Bronze. Origin: India, eastern. Museum: The Chicago Art Institute, Chicago, USA.

Avalokiteshvara, the Bodhisattva of Infinite Compassion 10th century Nepal (Kathmandu Valley) The embodiment of Buddhist compassion grants boons to devotees with his extended hand. He wears a spectacular tripartite diadem, jewelry, and a low-slung sash with fluted folds that extend to the ground. Stylistically, this image represents a continuation of conventions developed in the late Lichhavi era (8th-9th century).. Avalokiteshvara, the Bodhisattva of Infinite Compassion. Nepal (Kathmandu Valley). 10th century. Gilt-copper alloy. Thakuri period. Sculpture

Seated Avalokiteshvara, the Buddha of Infinite Compassion 17th century Tibet or Mongolia. Seated Avalokiteshvara, the Buddha of Infinite Compassion. Tibet or Mongolia. 17th century. Gilt copper alloy. Sculpture

Buddha, Standing with Hand in Gesture of Reassurance (Abhaymudra) 618 CE-907 CE China. Gilt copper alloy .

Bodhisattva. unknown, sculptor

A Buddha. Thailand, Lopburi style, 13th century. Sculpture. Copper alloy

Attendant Bodhisattva 10th-11th century China This sculpture of an attendant bodhisattva was most likely part of a colossal triptych showing a Buddha flanked by two such figures. It is made of willow, a material that was often used in the north for the construction of Buddhist sculpture, and was once brightly painted. The bodys sense of volume, the careful rendering of the braids that fall along the shoulders, and the scarf tied at the chest are typical features of Buddhist statuary dating from the tenth and eleventh centuries.. Attendant Bodhisattva. China. 10th-11th century. Wood (willow) with gesso and pigment; single woodblock construction. Five Dynasties (907-60) or Liao dynasty (907-1125). Sculpture

Jizo Bosatsu. Japanese. Date: 1175-1225. Dimensions: H. 91.5 cm. Wood painted with colors and gold. Origin: Japan. Museum: The Chicago Art Institute, Chicago, USA.

Figure of a Lama China. Figure of a Lama 61562

Buddha Vairocana (Dari) 11th century China This Buddha holds his hands in a wisdom fist,” a gesture in which the left hand grasps the index finger of the right hand. This identifies him as Vairocana, one of the many celestial, or transcendent, Buddhas who were particularly important in China from the sixth through tenth centuries. Vairocana often makes this gesture when he is depicted at the center of the Womb World Mandala, and it is possible that this beautifully cast sculpture was once part of a larger grouping of images arranged as a mandala, or cosmic diagram.. Buddha Vairocana (Dari). China. 11th century. Gilt bronze; lost-wax cast. Liao dynasty (907-1125). Sculpture

Bodhisattva, probably Avalokiteshvara (Guanyin) late 6th century China. Bodhisattva, probably Avalokiteshvara (Guanyin). China. late 6th century. Limestone with traces of pigment. Sui dynasty (581-618). Sculpture

Yakushi Nyorai 901 CE-1100 Japan. The spiritual ideal of the late Heian period (794ñ1185) is revealed in serene religious images such as this statue of Yakushi Nyorai, the Buddha of healing. Traditionally invoked to cure both physical and spiritual afflictions, Yakushi lifts his right hand in a gesture of reassurance and protection while he cups a medicine bottle in his left hand. The gentle modeling and precisely folded drapery of this work express the elegance of Buddhist sculpture commissioned by the Heian aristocracy.. Wood with traces of polychromy .

Sculpture bodhisattva standing on a lotus flower unknown

Eleven-Headed Avalokiteshvara, the Bodhisattva of Infinite Compassion. Culture: Thailand. Dimensions: H. 7 3/8 in. (18.7 cm). Date: 10th century.Such multi-armed, eleven-headed images of Avalokiteshvara were important to both Mahayana and Vajrayana Buddhist practitioners. This kind of representation emphasizes Avalokiteshvara's knowledge as well as his ability to take multiple simultaneous actions on behalf of the devotee. Museum: Metropolitan Museum of Art, New York, USA.

Standing Crowned and Jeweled Buddha. Culture: Burma. Dimensions: H. 77 3/4 in. (197.5 cm); W. 19 1/4 in. (48.9 cm); D. 10 1/4 in. (26 cm). Date: 12th-13th century. Museum: Metropolitan Museum of Art, New York, USA.

Daoist Priest with Zodiac Animal, Rooster China. Daoist Priest with Zodiac Animal, Rooster. China. Stoneware. Song dynasty (960-1279). Tomb Pottery

Daoist Priest with Zodiac Animal, Tiger China. Daoist Priest with Zodiac Animal, Tiger. China. Stoneware. Song dynasty (960-1279). Tomb Pottery

Seated Buddha 9th century Thailand. Seated Buddha 38956

Monk. China. Date: 589 AD-618 AD. Dimensions: H. (without base) 35 in.; h. (with base) 42 1/2 in.; diam. 9 1/4 in. Limestone with traces of polychromy. Origin: China. Museum: The Chicago Art Institute, Chicago, USA.

Lamp Bearer, Presumed Portrait of a Nobleman Dated by inscription 1698 Nepal This figures Rajput-style dress was popular in court circles in seventeenth- and eighteenth-century Nepal. The sculpture carries a donor inscription that identifies him as Sri Muni Vajracharya, a member of the Varyacharya caste. He holds an oil lamp with a dragon handle and an elegant ewer in his extended hands as offerings to the presiding deity, here named as Padmapani Lokesvara, the lotus-bearing bodhisattva of compassion.. Lamp Bearer, Presumed Portrait of a Nobleman. Nepal. Dated by inscription 1698. Gilt-copper alloy. Sculpture

Tara, Buddhismus, Figur Tara, Buddhismus, Figur Copyright: xZoonar.com/LutzxWallrothx 830579

Seated Maitreya Buddha, c. 1400. Western Tibet, Yongle Period (1403-1424). Bronze; overall: 18.6 cm (7 5/16 in.); base: 12.2 cm (4 13/16 in.).

Dainichi, the Buddha of Infinite Illumination, Unknown Japanese, 6 9/16 × 4 1/4 × 3 3/4 in. (16.67 × 10.8 × 9.53 cm), Bronze, Japan

Monk Sengqie late 11th-12th century China This sculpture is a rare representation of Sengqie (ca. 660-710), a monk from central Asia who founded a temple in Sizhou (modern Liuhuai, Anhui Province), on the south shore of the Huai River. Popularly known as the Monk of Sizhou, he was venerated after his death as an incarnation of Guanyin, the Bodhisattva of Compassion. During the Song dynasty, he became a cult figure revered for his power to prevent floods.. Monk Sengqie 42720

Buddha Sakyamuni. unknown, sculptor

Seated Kubera 11th century Indonesia (Java). Seated Kubera 39006

Buddha Shakyamuni or Akshobhya, the Buddha of the East. Culture: Tibet. Dimensions: H. 22 3/4 in. (58 cm). Date: 11th-12th century.The robust body of this early Tibetan Buddha seems to derive from the art of the North Indian post-Gupta period (seventh to eighth century), while its physiognomy is based on Central Asian prototypes of similar date. Few works of art from tenth-century Tibet have survived, but what does remain seems to be an eclectic synthesis of elements drawn from the artistic traditions of Central Asia, India, Nepal, and China.The identification of the statue is difficult. The earth-touching gesture (bhumisparshamudra), a variant of which our Buddha makes with his right hand, is most frequently associated with Shakyamuni, the Historic Buddha. It alludes to his victory over the evil demon Mara, who sought to disturb his meditation, and therefore his enlightenment. The same gesture is also associated with Akshobhya, one of the five great cosmic Buddhas central to the ico

Buddha Buddha, northern Thailand, 14th century, bronze, MuEC, Barcelona, Catalonia, Spain LicenseRF Copyright: xZoonar.com/BartomeuxBalaguerxRotgerx 23171343

Shandao 18th-early 19th century Japan Sitting upon a lotus pedestal is an eminent monk associated with the practice of Pure Land Buddhism, Shandao (Japanese: Zend) of Tang-dynasty (618-906) China. He places his palms together as he contemplates the Buddha Amida (Sanskrit: Amitbha). Followers of Pure Land Buddhism aim to experience birth in the realm Amida, a paradise ideally suited for the pursuit of enlightenment. The sculpture is one of a pair, the other sculpture depicting Hnen, of Kamakura-period (1185-1333) Japan. Shandao’s religious thought inspired that of Hnen, and the two are often shown together in paintings. The paintings are based upon a vision of Shandao experienced by Hnen. In the dream, the Chinese monk validates Hnen’s mission to spread throughout Japan the belief in Amida’s salvific powers. The two face one another, Shandao floating above Hnen on a bank of clouds. Sculpted, seated figures of the pair such as this are unusual, although paintings of the two seated

Seated Ganesha. Culture: Thailand. Dimensions: H. 12 3/8 in. (31.4 cm); W. 7 1/4 in. (18.4 cm); D. 5 in. (12.7 cm). Date: ca. 15th century.Ganesha is seated in a cross-legged yogic posture on a raised pedestal with a decorated molding. His dress and adornments are treated in a very restrained fashion that emphasizes the sculptor's concern with pure modeling and manipulation of volumes: he wears a short sampot, a threefold flap of the cloth draped over the right ankle, as well as bracelets, anklets, and snake armbands (both missing their heads). In proper iconographic fashion, the sacred thread is a serpent tied at the left shoulder, and in his right hand Ganesha holds his broken right tusk, in his left an elephant goad. His crown, which originally contained a gem in front and back, is of approximately the same shape as crowns found on sculptures from the later Sukhothai period as well as from the northern schools. Ganesha's trunk extends straight down, curving only at the very end.Su

. Manjushri, bronze, (attribute in the right hand has been broken off).

Indra, Lord of the Gods: Regent of the East. Culture: Sri Lanka. Dimensions: H. 9 in. (22.9 cm); W. 4 5/8 in. (11.7 cm); D. 3 3/4 in. (9.5 cm). Date: 9th century.The lokapalas stand in each of the four cardinal directions as protectors of both the Buddhist dharma (teachings) and the religious community. Texts speak of monasteries being constructed on grids symbolically marked with these deities, leaving the specific ritual function of these sculptures an open question.Indra, Lord of the Gods is Regent of the East. He holds a thunderbolt. His vehicle is the elephant. Museum: Metropolitan Museum of Art, New York, USA.

The Esoteric Buddhist Goddess Karmavajri Kashmir style in Western Tibet 11th Century This Buddhist goddess personifies the symbol of the Karma family, the crossed vajra (visvavajra), which she holds before her body. Seated in a yogic manner, Karmavajri wears a tall three-part diadem and elaborate jewelry that has been cold gilded. She would have been worshipped as part of a set of images that constituted a Vajradatu mandala. Stylistic and technical similarities confirm that this work belonged to the same ensemble as the Buddha Amoghasiddhi (1984.211, which is complete with its original base) View more. The Esoteric Buddhist Goddess Karmavajri. Kashmir style in Western Tibet. 11th Century. Silver inlaid with copper and gold. Sculpture

Tibetan Buddhism is the body of Buddhist religious doctrine and institutions characteristic of Tibet and certain regions of the Himalayas, including northern Nepal, Bhutan, and India (particularly in Arunachal Pradesh, Ladakh, Dharamsala, Lahaul and Spiti in Himachal Pradesh, and Sikkim). It is the state religion of Bhutan. It is also practiced in Mongolia and parts of Russia (Kalmykia, Buryatia, and Tuva) and Northeast China. Texts recognized as scripture and commentary are contained in the Tibetan Buddhist canon, such that Tibetan is a spiritual language of these areas. A Tibetan diaspora has spread Tibetan Buddhism to many Western countries, where the tradition has gained popularity. Among its prominent exponents is the 14th Dalai Lama of Tibet. The number of its adherents is estimated to be between ten and twenty million.

Bodhisattva, early 700s. China, Shanxi province, Taiyuan, Tianlongshan caves, Cave 6, Tang dynasty (618-907). Light gray limestone with traces of polychromy; overall: 34.2 cm (13 7/16 in.).

Seated Guanyin, 1600s-1700s. China, Qing dynasty (1644-1911). Bamboo; overall: 15.7 x 9 cm (6 3/16 x 3 9/16 in.).

Kerkvorst. Lamaic church frost.

Ananda - a fragment of the Tarzyka; 19th century () (1801-00-00-1900-00-00);

Guanshiyin or Avalokitesvara is the bodhisattva associated with compassion as venerated by East Asian Buddhists, usually as a female. The name Guanyin is short for Guanshiyin which means 'Observing the Sounds (or Cries) of the World'. Some Buddhists believe that when one of their adherents departs from this world, they are placed by Guanyin in the heart of a lotus then sent home to the western pure land of Sukhavati. It is generally accepted (in the Chinese community) that Guanyin originated as the Sanskrit Avalokitesvara, which is her male form. Commonly known in English as the Goddess of Mercy, Guanyin is also revered in Daoism as an Immortal.In Japan, Guanyin is called Kannon.

Hemelnimf. Image of tuff, representing a heaven nymph. Indonesia.

The Bodhisattva Vajrasattva 8th century India, Kashmir The Esoteric Buddhist deity Vajrasattva holds a stylized thunderbolt and a bell and sits in royal ease on a stylized mountain, with his pendant foot supported by a lotus bloom. Two snake deities, a naga and nagini, emerge from the mountains waters and raise their hands in veneration of Vajrasattvas transcendent wisdom.. The Bodhisattva Vajrasattva. India, Kashmir. 8th century. Brass with silver inlay. Sculpture

Buddha Offering Protection. Culture: Sri Lanka, central plateau. Dimensions: H. (figure) 23 3/4 in. (60.3 cm); W. 7 in. (17.8 cm); D. 4 in. (10.2 cm). Date: 10th century.This grand Buddha gestures compassionate protection to devotees (abhaya mudra) with his raised right hand, while his left hand supports the sweeping fall of his monastic robe (uttarsanga). The facial features and bodily contour suggest that the work is a product of the early Polonnaruva Period. Museum: Metropolitan Museum of Art, New York, USA.

Bronze seated figures of Avalokiteshvara, the earthly manifestation of the self-born eternal Buddha Amitabha. Dated 12th Century

Linga with Face of Shiva (Ekamukhalinga) first half of the 5th century India (Madhya Pradesh). Linga with Face of Shiva (Ekamukhalinga). India (Madhya Pradesh). first half of the 5th century. Sandstone. Gupta period. Sculpture

Buddha seated in meditaion. Circa 300AD Gandhara, Pakistan

. From the intensely concentrated pose of this teacher, it is clear that he has complete control over his mind and body. His right hand is making the vitarka mudra, the gesture of teaching or reasoning. The figure may represent an alvar, one of the poet-saints who dedicated themselves to the god Vishnu.

Karma Pakshi (1206-1283). Eastern Tibet, a Karmapa Monastery, 17th century. Sculpture. Gilt brass with traces of paint

Head of Guanyin China. Head of Guanyin 61742

Buddha subduing Mara, late 19th century, 21 in. (53.3 cm), Gilt bronze, Thailand, late 19th century, This depiction of the Buddha, dressed as a prince and seated atop a carpet on an elaborate throne, would become widespread after King Rama I (r. 1782-1809) defeated Burmese incursions and established the Chakri dynasty

Standing Lakshmi(). Culture: Cambodia or Thailand. Dimensions: H. 13 1/4 in. (33.7 cm); W. 4 1/2 in. (11.4 cm); D. 2 1/4 in. (5.7 cm). Date: 13th century. Museum: Metropolitan Museum of Art, New York, USA.

Eight Great Events from the Life of the Buddha 901 CE-1000 Bihar. Phyllite .

Statue of Hindu god, Sukhothai period, National Museum, Bangkok, Thailand, Southeast Asia, Asia

Varuna, Lord of Knowledge; Regent of the West. Culture: Sri Lanka. Dimensions: H. 9 in. (22.9 cm); W. 3 3/4 in. (9.5 cm); D. 4 1/2 in. (11.4 cm). Date: 9th century.The lokapalas stand in each of the four cardinal directions as protectors of both the Buddhist dharma (teachings) and the religious community. Texts speak of monasteries being constructed on grids symbolically marked with these deities, leaving the specific ritual function of these sculptures an open question.Varuna, Lord of Knowledge, is Regent of the West. His broken left hand would have held a noose. His vehicle is a horse. Museum: Metropolitan Museum of Art, New York, USA.

Wooden buddha sculpture on a white background

Nyoirin Kannon dated 1693 Japan The bodhisattva Kannon (Sanskrit: Avalokiteshvara) is represented here with Esoteric Buddhist attributes: the wish-fulfilling jewel (nyoi hju) and the wheel (rin) of Buddhist teachings. Carved into the base are female donors’ names; this votive offering to a temple may have been in connection with the monthly jkuya-k ritual for the health and safe delivery of children.. Nyoirin Kannon. Japan. dated 1693. Wood with gold, gold leaf, lacquer,and crystal inlay. Edo period (1615-1868). Sculpture

USA, New York State, New York City, Tibet House, Vajradhara in Yab Yum - Dorje Chang

Buddha Vairocana (Dari). Culture: China. Dimensions: H. 8 in. (20.3 cm); W. 5 3/4 in. (14.6 cm); D. 5 1/2 in. (14 cm). Date: early 8th century.The teaching gesture made by this figure, in which the thumb of the right hand touches the little finger of the left, identifies him as Vairocana, a transcendent manifestation of the historical Buddha Shakyamuni who played an important role in certain early esoteric traditions that grew increasingly popular in China in the eighth century. The unusual wheel-like configuration at the bottom suggests that this sculpture may once have been encased within five lotus petals that could open and close. Museum: Metropolitan Museum of Art, New York, USA.

Buddha Maitreya (Mile fo). Culture: China. Dimensions: H. 55 1/4 in. (140.3 cm); W. 24 1/2 in. (62.2 cm); D. 19 1/4 in. (48.9 cm). Date: dated 486.This is the largest early gilt-bronze Chinese sculpture known today. The Buddha's broad shoulders, powerful physique, and long legs derive from fifthcentury Indian prototypes that spread to China along the Silk Road, an example of which can be seen directly behind you in the gallery for Indian art. Maitreya is worshiped both as a bodhisattva and as a Buddha, for it is believed that once the currentcosmic era has destroyed itself, he will be reborn as the teaching Buddha of the next great era. The identification of this figure as the Buddha Maitreya is based on the dedicatory inscription at the back of the base, which dates the sculpture to 486 and states that it was commissioned in honor of the dowager empress Wenming (442-490), who controlled the Northern Wei dynasty during the last three decades of the fifth century. Museum: Metropolitan

Manjushri, anonymous, 800 - 850 Manjushri, bronze, (attribute in the right hand has been demolished). Indonesia bronze (metal) Manjushri, bronze, (attribute in the right hand has been demolished). Indonesia bronze (metal)

Vishnu Riding on Garuda. Culture: Nepal. Dimensions: H. 16 1/2 in. (41.9 cm); W. 11 5/8 in. (29.5 cm); D. 3 3/8 in. (8.6 cm). Date: dated 1004.This rare early example of Nepalese repoussé depicts the god Vishnu in flight astride his half-bird, half-human mount, Garuda. He displays a flaming discus, a club, and a conch. Atop his wings are diminutive figures of his wives. Vishnu was the premier deity of the North Indian Gupta clan, and Garuda their dynastic symbol--a royal association that continued with the Licchavi kingdom in Nepal. The inscription here refers to Vishnu Garudadhvaja (One Whose Banner is Garuda), the Gupta symbol. This relief, the oldest known example outside Nepal, served as a protective sheath for a stone icon of the same subject. Museum: Metropolitan Museum of Art, New York, USA.

Seated Buddha 10th-11th century Japan This small image probably represents Shakyamuni, the historical Buddha, in his enlightened state, seated in the posture of meditation. Short whorls of hair (rahotsu) cover the head, and a cranial protuberance symbolizes his profound wisdom. The hands, which were cast separately, would have formed the characteristic mudras associated with his image: the right, raised and open in a gesture of reassurance, represents the benevolent gift of life without fear that is the result of Buddhist enlightenment; the left, resting on the knee with palm open, extended to the worshipper in a gesture of offering, symbolizes the fulfillment of the Buddha's vow to attain enlightenment and to teach it to all sentient beings.. Seated Buddha. Japan. 10th-11th century. Gilt bronze. Heian period (794-1185). Sculpture

Jiz, Bodhisattva of the Earth Store (Kshitigarbha) late 12th-mid-13th century Japan Here, the bodhisattva Jiz (Sanskrit: Kshitigarbha) takes the guise of an itinerant monk. He holds in his left hand a wish-fulfilling jewel and in his right hand a monk’s staff with six rings that jingle to announce his arrival. From hell to paradise, Jiz’s compassionate presence illuminates the righteous way, and he saves from harm those who call out to him. The beautiful flowing movement of the garment helps to date this work to the early Kamakura period. Traces of richly colored paint and cut-gold decoration remain on the lower half of the sculpture, providing a rare glimpse of the work’s original condition.. Jiz, Bodhisattva of the Earth Store (Kshitigarbha). Japan. late 12th-mid-13th century. Wood with lacquer, gold leaf, cutout gold foil decoration, and color. Kamakura period (1185-1333). Sculpture

Lokeshvara and Kuvera (Jambhala), anonymous, 850 - 899 Bronze statue, representing the Bodhisattva Amoghapasha Lokeshvara. Java bronze (metal) Bronze statue, representing the Bodhisattva Amoghapasha Lokeshvara. Java bronze (metal)

Buddhist Deity Indra(Taishakuten)

Buddha Offering Protection late 6th-early 7th century India (probably Bihar) This Buddha image embodies the qualities of inner radiant calm and stillness, the products of supreme wisdom. He dispenses reassurance and protection to his followers with a raised hand held in abhaya-mudra, the fear not’ gesture. The Buddha is robed in the simple uncut cloth of a monk, gracefully drawn around the body so as to define form, to create an image that is at once ethereal and sensuous. A state of Buddhahood is defined iconographically by the presence of a series of auspicious markings (lakshanas): here we see the attenuated earlobes, protruding skull and webbing between the fingers. Taken together these features, both natural and supernatural, denote preordained sanctity and a state of Buddhahood. Few metal Buddha images survived the collapsed of monastic Buddhism in the late 12th century, and most that are preserved did so in Tibet, where they had been spirited away for safety in the medieval per

Seated Buddha, c. AD 300s. Afghanistan, Gandhara, Hadda, late Kushan Period (1st century-320). Stucco; overall: 36.9 cm (14 1/2 in.).

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