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);

Padmasambhava 19th Century A.D. One of the most prominent figures in Tibetan Buddhism. Gilt copper and brass.

Standing Bodhisattva, 571, 76 in. (193.04 cm), Black marble with traces of pigments and gilding, China, 6th century, This standing figure is a bodhisattva, a being who has postponed its own passage to nirvana in order to guide others to salvation. Bodhisattvas are often depicted as paired attendants to a buddha. This sculpture, too, was probably once worshipped as part of a triad of sculptures, positioned to either the left or right of a central icon.

'Standing Buddha'. Siam (now Thailand).Lanna art (Extreme North area), 16th century. Dimensions: h. 28,2 cm. Museum: State Hermitage, St. Petersburg.

Bronze Thai Budda 15th Century, Thailand

Avalokiteeshvara, Anonymous, 870 - 930 Awalokitesvara, sitting, four -armed on double lotus cushion placed on bronze pedestal, various symbols in the four hands. Indonesia bronze (metal). silver (metal) casting Awalokitesvara, sitting, four -armed on double lotus cushion placed on bronze pedestal, various symbols in the four hands. Indonesia bronze (metal). silver (metal) casting

. Bronze statue, representing the Bodhisattva Amoghapasha Lokeshvara.

Hachiman in the Guise of a Buddhist Monk, 12th century, Unknown Japanese, 16 5/8 × 11 3/8 × 9 3/4 in. (42.23 × 28.89 × 24.77 cm), Japanese cypress with polychrome, Japan, 12th century, Buddhism was introduced to Japan through Korea after 500 and early Buddhists immediately set off to reconcile the new, foreign religion with the indigenous belief system of Shintō. According to the theory of honji suijaku (Shintō/Buddhist syncretism), Shintō kami (deities) were temporary embodiments of Buddhist deities on this earth, and specifically manifested themselves in Japan to save humans.

Buddha Maitreya (Mile) dated 486 (10th year of Taihe reign) China This is the largest early gilt-bronze Chinese sculpture known today. The Buddhas broad shoulders, powerful physique, and long legs derive from fifth century 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 current cosmic 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. Listen to experts illuminate this artwork's story Listen Play or pause #7453. Buddha Maitreya (Mile f

Head of a Buddha 5th century India. Head of a Buddha 38533

Bronze head of a Buddha. Dated 14th Century

Buddha dated 707 China The plumpness of this Buddhas face and body, together with the draped robes and waisted pedestal, are typical of Chinese sculpture from the late seventh to early eighth century. The inscription on the base identifies the figure as Amitabha, a celestial Buddha who presides over the Western Paradise, but some scholars have suggested that the inscription may have been added later.. Buddha. China. dated 707. Marble. Tang dynasty (618-907). Sculpture

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.

'Crowned Buddha Maravijaya'. Siam (now Thailand). Bangkok art, Mid-19th century ( ). Dimensions: h. 21 cm. Museum: State Hermitage, St. Petersburg.

Standing Figure of Daoist Immortal (He Siengu) 18th century China. Standing Figure of Daoist Immortal (He Siengu). China. 18th century. Amber. Hardstone

Seated Two-Armed Jambhala, the Buddhist God of Wealth late 9th-first half of the 10th century Indonesia (Java). Seated Two-Armed Jambhala, the Buddhist God of Wealth. Indonesia (Java). late 9th-first half of the 10th century. Bronze. Central or Eastern Javanese period. Sculpture

Borobudur is an 8th-century Mahayana Buddhist monument near Magelang, Central Java, Indonesia. The monument comprises six square platforms topped by three circular platforms, and is decorated with 2,672 relief panels and 504 Buddha statues. A main dome, located at the center of the top platform, is surrounded by 72 Buddha statues seated inside a perforated stupa. The monument is both a shrine to the Lord Buddha and a place for Buddhist pilgrimage. The journey for pilgrims begins at the base of the monument and follows a path circumambulating the monument while ascending to the top through the three levels of Buddhist cosmology, namely Kāmadhātu (the world of desire), Rupadhatu (the world of forms) and Arupadhatu (the world of formlessness). During the journey, the monument guides the pilgrims through a system of stairways and corridors with 1,460 narrative relief panels on the walls and the balustrades.

Standing Buddha Japan early 9th century View more. Standing Buddha. Japan. early 9th century. Wood. Heian period (794-1185). Sculpture

Stele: Maitreya as the Future Buddha, 300s-500s. China, Hebei, Six Dynasties period (317-581), Northern Qi dynasty (550-577). Marble; overall: 86.4 x 50.8 cm (34 x 20 in.).

Head of a Buddha 9th century Indonesia (Java). Head of a Buddha. Indonesia (Java). 9th century. Andesite. Central Javanese period. Sculpture

Buddhist deity Guanyin (Bodhisattva Avalokiteshvara). Culture: China. Dimensions: H. 10 1/2 in. (26.7 cm). Date: 16th century.The child in the arms of the bodhisattva indicates that this ivory carving represents Guanyin as the Bestower of Sons. Although in India the Bodhisattva Avalokiteshvara was originally understood to be either genderless or male, in China, female manifestations developed and become popular, particularly for their ability to provide blessings such as children. This particular form was created during the Ming dynasty (1368-1644). Museum: Metropolitan Museum of Art, New York, USA.

The bodhisattva Manjushri, Anonymous, c. 800 - c. 900

Head of Buddha 9th century Thailand (Ratchaburi Province) This head is an ideal example of the refined Mon-Dvaravati period. The subtle articulation of planes that make up the face is characteristic of this high moment of sculptural refinement. The fact that it is fabricated in stucco suggests it originally embellished an architectural structure.. Head of Buddha 38168

Bodhisattva Avalokiteshvara (Guanyin) China. Bodhisattva Avalokiteshvara (Guanyin). China. Gilt bronze. Five Dynasties (907-960). Sculpture

Seated Figure ofAvalokitesvara

Bodhisattva 725 CE-750 CE China. Limestone with traces of polychromy .

The Buddhist Goddess Victorious Wisdom Tara (Jina-Prajna Tara). Nepal, circa 15th century. Sculpture. Wood with traces of paint; copper ornaments inlaid with gemstones

Standing Vishnu ca. third quarter of the 10th century India (Tamil Nadu) Vishnu the Preserver is most often portrayed holding the militant attributes that symbolize his protective role. Here he holds a chakra (war discus) in his upper right hand and a shankha (conch battle trumpet) in his upper left. His lower left hand makes the gesture of resting on a gada (mace), while his lower right hand is held in abhayamudra (the gesture that allays fear). The upright prongs at either side of the pedestal originally supported a halo.. Standing Vishnu. India (Tamil Nadu). ca. third quarter of the 10th century. Copper alloy. Chola period (880-1279). Metalwork

Fragment of a Buddha image. Buddha torso.

Youthful Manjushri on a Lotus Throne. Culture: Tibet. Dimensions: H. 3 1/2 in. (8.9 cm); W. 2 7/16 in. (6.2 cm); Diam. (base) 3 1/2 in. (8.9 cm). Date: 16th century.This work was likely produced for Chinese use. This unusual representation of Manjushri shows him as a child, with a plump face and the five topknots of childhood, known in China as wuji wenshu. A foliate necklace with settings for gemstones adorns his youthful figure. Museum: Metropolitan Museum of Art, New York, USA.

Manjusri with his Sakti, c. 1100s. Tibet, 12th century. Yellow steatite, kaolinite; overall: 7.3 x 4.7 x 2.5 cm (2 7/8 x 1 7/8 x 1 in.).

Life sized image of Bodhisattva Padmapani, dated 775AD, a famous bronze of the Srivijayan period, from Chaya, National Museum, Bangkok, Thailand, Sout...

Enthroned planetary deity, 850-875. Central Vietnam (Champa), Quang Nam province, Dong Duong monastery. Sandstone; overall: 86.5 x 37.5 cm (34 1/16 x 14 3/4 in.).

Enthroned Preaching Buddha late 9th century India (Bihar). Enthroned Preaching Buddha 38928

Vajradharma Lokeshvara 9th century Pakistan (NW Frontier Province, probably Swat Valley) The peacocks that support the lotus cushion identify this bodhisattva as Vajradharma Lokeshvara. Shown in the act of opening a lotus flower, he also holds a bow and arrow, tools to dispel impediments to enlightenment. His spiritual mentor Amitabha Buddha is enthroned in his diadem.. Vajradharma Lokeshvara 38983

Statuette of the Bodhisattva Manjusri, 15th century. Artist: Unknown

Fudō Myōō (Acalanātha) Japan Expressive carving and exquisite decoration in cut gold (kirikane) make this small image an eloquent witness to the fervent belief in the benign power of this deity. One of the Five Great Light Kings, Fudō (Sanskrit: Acalanatha), the Immovable One, came to be widely venerated as a staunch protector, particularly among samurai warriors.. Fudō Myōō (Acalanātha) 42592

Four-Armed Avalokiteshvara, the Bodhisattva of Infinite Compassion 7th-8th century Peninsular Thailand Avalokiteshvara, the Bodhisattva of Infinite Compassion, is identified by the seated image of Amitabha, the Buddha of the Western Paradise, in his hair. The sculpture is said to have been found in peninsular Thailand and was probably made there. The posture and facial type are closest to sculptures from that region. However, the work also relates to some of the sculptures assigned to the Shrivijaya empire.. Four-Armed Avalokiteshvara, the Bodhisattva of Infinite Compassion 38958

Four-Armed Avalokiteshvara (Bodhisattva of Infinite Compassion) ca. first quarter of the 11th century Cambodia. Four-Armed Avalokiteshvara (Bodhisattva of Infinite Compassion) 50668

Parinirvana (Extinction of the Buddha) and Attendant. Artist: Qiao Bin (Chinese, active 1481-1507). Culture: China. Dimensions: H. 11 1/2 in. (29.2 cm); W. 4 5/8 in. (11.7 cm); D. 4 1/2 in. (11.4 cm). Date: dated 1503.According to the inscription on the back and sides of the couch on which the Buddha reclines, this depiction of the ultimate extinction of the historical Buddha was created as a private act of devotion and was originally part of a larger assemblage of figures: "In the sixteenth year of the Hongzhi reign era of the Great Ming dynasty 1503, the chan monk Huitai from Pantingshan, Xiyan, fulfilled his desire and commissioned on sleeping Buddha, one Shakyamuni, one Maitreya, one Kshitigarbha, one Avalokitshvara, and seven lofty monks. Made by Qiao given name illegible from Dongguan of our country." Based on other inscribed sculptures of this type, this set can be identified as coming from the Qiao family workshop in Yangcheng, Shanxi Province. Museum: Metropolitan Museum

One of the Four Heavenly Kings 12th century Japan This pair of statues (with 1975.268.165) are from a set of four. Originally Hindu demigods, the Guardian Kings of the Four Directions, or Shitenn, were absorbed into the Buddhist pantheon as protectors of Buddhist teachings, the temple, and the nation. In China, such statues were usually positioned near temple entrances, but in Japan they more often surrounded the central deity on the main altar. These ferocious figures nearly always wear armor, carry weapons or other attributes (now lost), and stand in dynamic poses rather than static postures of ease or meditation. Each carved from a single block of wood, their muscular forms retain the strength of early Heian-period style. Only the arms, now missing, were carved separately.. One of the Four Heavenly Kings. Japan. 12th century. Wood with traces of color. Heian period (794-1185). Sculpture

Zenzai Doji 1201-1400 Japan. This devotee, with hands raised in prayer, represents Zenzai Doji, whose encounters with various spiritual teachers are described in early Buddhist texts. These writings relate his extensive travels in search of enlightenment, ultimately resulting in his conversion into a bodhisattva (bosatsu). In this sculpture, Zenzai Doji takes a step forward; his robes, spread as if caught in a breeze, further convey his movement.. Wood with glass and polychromy, and metal accessories . Zenzai Doshi

Japan, bronze statue of Buddha

Plaque with Scenes from the Life of the Buddha 12th century India (Bihar or West Bengal) The central scene of this devotional plaque depicts Siddhartha's victory over the demon Mara and his subsequent enlightenment. Siddhartha, the Buddha-to-be, sat under a tree in meditation and when it became clear that his enlightenment was near at hand, Mara tried everything in his power to prevent it. He sent his daughters to tempt Siddhartha as well as his armies to disrupt his meditation. The Buddha-to-be responded by touching the earth with his right hand (bhumisparshamudra), a gesture that called the earth goddess to witness his right to achieve enlightenment. She responded positively, Mara and his armies were dispersed, and Siddhartha became the Buddha Shakyamuni.In Indian art, the Buddha's life was often condensed and codified into a series of eight events. Surrounding the central image on this plaque are depictions of these events (clockwise from lower left): the miraculous birth of the Bud

Buddhist deity Guanyin. 12th century. Painted and gilded wood. Shanxin, China. Rijksmuseum. Amsterdam. Holland.

Standing Avalokiteshvara, the Bodhisattva of Infinite Compassion. Culture: Indonesia (Sumatra). Dimensions: H. 7 1/8 in. (18.1 cm); W. 2 5/8 in. (6.7 cm); D. 1 5/8 in. (4.1 cm). Date: late 8th-early 9th century. Museum: Metropolitan Museum of Art, New York, USA.

Brass head of the Hindu God Siva (Shiva). Valley of Kullu; Himachal Pradesh, India. 13th -14th Century AD

Buddha Calling the Earth to Witness, 1000-1100s. Northern India, Bihar, 11th-12th century. Stone; overall: 8.2 x 6.1 cm (3 1/4 x 2 3/8 in.).

Henan province, Gongxian caves, Statue of a sitting Buddha, grey limestone

Bodhisattva Guanyin seated on a rock 18th century China. Bodhisattva Guanyin seated on a rock. China. 18th century. Smoked crystal. Qing dynasty (1644-1911). Hardstone

Enthroned Jina Attended by a Yaksha, a Yakshi, and Chauri-Bearers. Culture: India (Karnataka). Dimensions: H. 9 3/4 in. (24.8 cm). Date: 9th-10th century.This Digambara icon from the Deccan shows a jina meditating beneath a flowering tree, follow the conventions seen in Buddhist sculptures of the period. As in Buddhist images, the jina is flanked by attendants--the nature-deity yaksha and yakshi replacing the bodhisattvas--and fly-whisk bearers gesturing their readiness to fan him. A lion-supported throne and triple umbrellas confirm the regal status. Rock-cut versions of such compositions appear frequently in the Pandyan territories of northern Tamil Nadu in the eighth and ninth centuries, a date range to which this bronze can be assigned. Museum: Metropolitan Museum of Art, New York, USA.

Face of buddha isolated on white background

Naga-Enthroned Buddha, 1100s. Cambodia, Angkor, Angkor Wat Period, 12th century. Bronze; overall: 58.4 x 28 cm (23 x 11 in.). Jayavarman VII, who built the great royal temple at Banteay Chhmar, linked himself with the image of the Buddha seated on a serpent, or naga, as the divine form under which he would be honored. During his reign, the naga-enthroned Buddha became a ubiquitous image for veneration, often set up together with Lokeshvara, who was associated with his father, and Prajnaparamita, the form under which his deceased mother was honored. Lokeshvara is the powerful enlightened being of compassion, while Prajnaparmita is the goddess who personifies wisdom. King Jayavarman VII, therefore, presented himself as the enlightened Buddha, the product of the union of Compassion and Wisdom, supported and glorified by the naga, which refers to the Khmer people. Images of the naga-enthroned Buddha have been found at Banteay Chhmar, both in architectural relief sculpture and as icons in

One of a Pair of Guardian Figures (Zuishin), c. 1560-1625. Japan, Muromachi period (1392-1573) to Edo period (1615-1858). Japanese cypress (hinoki) with traces of color; crystal; 68.5 x 71.4 cm (26 15/16 x 28 1/8 in.); 70.2 x 70.5 cm (27 5/8 x 27 3/4 in.). Sculptors carved these two figures to look like members of the guard who protected the Japanese aristocracy in the 10th to 12th centuries. The pair belong in the roofed gate of a Shinto shrine. Their role was to embody the divine protectors of the deities, or kami, residing at the shrine. Their inset crystal eyes make them appear vigilant.

Seated Four Armed Jambhala, the Buddhist God of Wealth second half of the 9th-early 10th century Indonesia (Java). Seated Four Armed Jambhala, the Buddhist God of Wealth 39012

Attendant to a King of Hell, 19th century, Unknown Korean, 29 3/8 x 12 5/8 x 8 7/8 in. (74.61 x 32.07 x 22.54 cm), Painted wood, Korea, 19th century, In a Buddhist monastery, monks installed statues or paintings depicting the fierce Kings of Hell in the halls where they lived and studied. They offered prayers in an attempt to mitigate the punishments meted out on the souls of the deceased. In addition to painted and sculptural images of the Kings of Hell, artists also depicted attendant figures like this one, who holds a long scroll on which the names and judgments would be recorded. The simplified carving style and compact form of the figure are characteristic of Korean folk sculpture. In an interesting mixture of religious beliefs, the figure is dressed in the robes and lacquered hat of a Confucian scholar-official.

Enlightened Protector Mahakala with Six Arms (Shadbhuja) 1701-1900 China. Gilt copper alloy with traces of orange pigment . Tibeto-Chinese

Buddha statue, carved in stone. Yuan dynasty (1271-1368). Chinesse art. 13th-14th centuries. The Museu do Oriente, Lisbon, Portugal.

Female Attendant Bearing a Lotus, 700s. India, Kashmir. Ivory; overall: 7.2 x 2.3 x 1.1 cm (2 13/16 x 7/8 x 7/16 in.); base: 2.2 x 2.3 cm (7/8 x 7/8 in.).

Daoist immortal and boy. Culture: China. Dimensions: H. 9 3/16 in. (23.3 cm). Date: 19th century. Museum: Metropolitan Museum of Art, New York, USA.

Fragment of a Buddha image. Bust of a Buddha; The top of the crown has been demolished.

Eight Great Events Stele. Culture: Eastern India (Bihar). Dimensions: H. 7 in. (17.8 cm). Date: 11th-12th century.This stele depicts the sacred locations that mark the eight great events in the life of the historical Buddha. It is a visual expression of the Astamahapratiharya text, composed in the early Pala period, which extols the merits of pilgrimage to the Buddha's principal sacred sites, shown here. The sites were understood to define the sacred geography of Buddhist India. Museum: Metropolitan Museum of Art, New York, USA.

Daoist immortal Laozi dated 1438 Chen Yanqing Chinese Identified by his full beard, Laozi (also known as the Celestial Worthy of the Way and Its Virtue) is the quasi-historical author of the seminal Daoist text, the Daodejing (The Way and Its Power). Daoism, a major religion in China that can be traced to the sixth century B.C., is a term used to define an amalgamation of beliefs and practices that includes metaphysical and philosophical speculations as well as guidance for everyday life.. Daoist immortal Laozi. Chen Yanqing (active 15th century). China. dated 1438. Gilt brass; lost-wax cast. Ming dynasty (1368-1644). Sculpture

The Buddhist Goddess Vasudhara. Nepal, 12th century. Sculpture. Gilt copper alloy inlaid with gemstones

Christ the Good Shepherd, 17th-18th century, 3 3/4 × 1 7/8 × 1 in. (9.53 × 4.76 × 2.54 cm), Ivory, India, 17th-18th century, The province of Goa in western India was under Portuguese control from 1512-1961, forming a nexus in trading routes that circumnavigated the earth. Goan craftsman were renowned for their supple modeling of ivory (likely exported from Mozambique) into Christian icons, which feed the appetite for luxury products in Europe, as well as furthered evangelical missions throughout Asia and the Americas. Within the genre of Indo-Portuguese ivories, popular subjects include Christ as the Good Shepard’ (the image of Christ as child would have related to similar bronze statuettes of the God Krishna) and the Virgin of the Immaculate Conception,’ which shows Mary atop a crescent moon, both of which remain ever-present icons in South Asia’s diverse religious landscape.

Meditating Buddha ca. 3rd-5th century Pakistan (ancient region of Gandhara) The oval face, high forehead, delicately shaped almond eyes, and full pursed lips indicate a provenance in the Turfan region near northwestern China. This Buddha once decorated a wall or a niche in a monument.. Meditating Buddha. Pakistan (ancient region of Gandhara). ca. 3rd-5th century. Stucco. Sculpture

Bodhidharma Seated in Meditation China. Bodhidharma Seated in Meditation. China. Cast iron. Ming dynasty (1368-1644). Sculpture

Stone sculpture of Bhudda from Tang Dynasty (A.D. 618-907), China

Buddha of Medicine Yaksa. Korea, Unified Silla Kingdom (676-935), late 7th-8th century. Sculpture. Cast bronze with gilding

Bodhisattva Maitreya with Fear-Not Gesture (Abhayamudra) 1401-1500 Southern Tibet. Gilt bronze with blue pigment and gemstones .

Seated luohan holding a rosary 17th-18th century China This ceramic sculpture presents a luohan as an elderly monk with a deeply creased forehead. With nearly closed eyes, the luohan clasps a rosary in his hands, probably as he meditates or chants the words of a scripture.. Seated luohan holding a rosary 54381

Shaivite Saint 11th century India (Tamil Nadu, Madurai region) Cults of saints are prominent in South Indian Hinduism. Saints who follow Shiva are called nayanars, and those of Vishnu, alvars. In India, people of great spiritual depth were often worshiped; and gradually cultsor whole religionsdeveloped around them. The indentity of this saint is unclear. His hands are raised to his chest in anjalimudra (the gesture of adoration). He has no other distinguishing attributes except his matted hair, which marks him as a devotee of Shiva.. Shaivite Saint. India (Tamil Nadu, Madurai region). 11th century. Copper. Chola period (880-1279). Sculpture

One of the Four Heavenly Kings 12th century Japan This pair of statues (with 1975.268.164) are from a set of four. Originally Hindu demigods, the Heavely Kings, or Shitennō, were absorbed into the Buddhist pantheon as protectors of Buddhist teachings, the temple, and the nation. In China, such statues were usually positioned near temple entrances, but in Japan they more often surrounded the central deity on the main altar. These ferocious figures nearly always wear armor, carry weapons or other attributes (now lost), and stand in dynamic poses rather than static postures of ease or meditation. Each carved from a single block of wood, their muscular forms retain the strength of early Heian-period style. Only the arms, now missing, were carved separately.. One of the Four Heavenly Kings 44840

The Lokapala Kubera, Regent of the North 9th century Sri Lanka 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.Kubera, Lord of Wealth, is Regent of the North. He holds a mace in his right hand. His vehicle is the lion.. The Lokapala Kubera, Regent of the North. Sri Lanka. 9th century. Bronze. Anuradhapura period. Sculpture

Bodhisattva Guanyin 17th century China Guanyin (in Sanskrit, Avalokiteshvara), the bodhisattva of infinite compassion, is one of the most commonly depicted Buddhist figures in Chinese art. She was believed to have the ability to bless every suffering person in the mortal world. Although in India the bodhisattva was originally understood to be either genderless or male, in China, female manifestations such as this one were common.. Bodhisattva Guanyin 51236

Bodhisattva. Sri Lanka, 11th century. Sculpture. Copper alloy

Figure of Daoist Immortal He Xiangu, 1700s. China, Qing dynasty (1644-1911). Boxwood; overall: 13.5 cm (5 5/16 in.).

Yamantaka, Anonymous, 1700 - 1800 Yamantaka, with female partner in association, Stierekop, eight human heads, 36 arms. Tibet bronze (metal). gilding (material) gilding Yamantaka, with female partner in association, Stierekop, eight human heads, 36 arms. Tibet bronze (metal). gilding (material) gilding

Twenty-One Emanations of the Goddess Tara Tibet 14th century The enthroned Tara grants boons to devotees. She is surrounded by emanations displaying essentially the same iconography. In worship, each Tara is visualized as the bearer of different boons the bringer of prosperity, the dispeller of sorrow, the destroyer of attachments. Below is a monk meditating on this visualization of White Tara and her emanations.

Seated Bodhisattva Maitreya (The Buddha of the Future) 1250-1350 Nepal (Kathmandu Valley). Seated Bodhisattva Maitreya (The Buddha of the Future) 38433

Head of an Attendant Bodhisattva. Culture: China. Dimensions: H. 32 in. (81.3 cm); W. 17 1/2 in. (44.5 cm); approx. D. 12 in. (30.5 cm). Date: ca. 565-75.This head once belonged to a towering bodhisattva who presided over the entrance to the Central Cave at Northern Xiangtangshan. This site, which consists of only three cave temples with colossal figural sculptures, was once strategically located on the route between the capital at Ye and Jinyang, in Shanxi province. At the beginning of the Northern Qi period, it may have been a place for meditation or other Buddhist activities. Museum: Metropolitan Museum of Art, New York, USA.

Bodhisattva. Rock. China, suis dynasty. Paris, Cernuschi museum. 55161-6 Chinese art, bodhisattva, Buddhism, China, suis, stone, statue dynasty

Caturvimsati-patta of Jina, 1579, 11 x 7 x 4 in. (27.9 x 17.8 x 10.2 cm), Copper alloy with silver inlay, India, 16th century, This devotional plaque depicts the 24 principle holy Jain teachers ( Jinas), comprised of a large central figure surrounded by 23 smaller teachers. The central, as yet unidentified figure, has inlaid silver eyes and sits cross-legged in a meditative posture on a lion throne, flanked by a pair of seated and standing Jinas. The other 19 Jinas wear simple garments and have inlaid silver auspicious marks on their chests srivatsa. Portable plaques of this type were usually commissioned by the Jain laity and presented to their temples. This altarpiece bears a lengthy inscription on its back identifying the donors who commissioned it in 1579.

Seated Avalokiteshvara (The Bodhisattva of Infinite Compassion) 17th-18th century Tibet. Seated Avalokiteshvara (The Bodhisattva of Infinite Compassion) 39139

Amitayus Trinity. Culture: Tibet. Dimensions: H. 7 1/2 in. (19.1 cm); W. 5 1/4 in. (13.3 cm); D. 2 1/2 in. (6.4 cm); Wt. 2 lbs (.9 kg). Date: ca. 15th century.This triad with Amitayus (Amitabha) on an openwork lotus throne flanked by two similarly enthroned Taras celebrates the symbolism of the lotus that is so essential to South Asian art. Two devotees-- snake-hooded nagas, guardians of the earth's treasures--emerge from the waters, hands raised in veneration. Museum: Metropolitan Museum of Art, New York, USA.

Bodhisattva in Thrice Bent Pose (Tribhanga) 600 CE-650 CE China. Gilt copper alloy .

Head of Buddha, c. 600s. Thailand, Mon-Dvaravati period. Stucco; overall: 15.7 x 11.7 cm (6 3/16 x 4 5/8 in.).

Seated Buddha. Korea, Joseon (1392-1910), 18th-19th century. Sculpture. Carved wood

Seated Avalokitesvara, 800s. Central Java, 9th century. Bronze; overall: 13.6 cm (5 3/8 in.).

Guardian Protector of the East (Dongfang chiguo tianwang) 11th-12th century China Guardians, particularly the four associated with the cardinal directions, play an important role in Buddhism and are most frequently shown within larger groupings of divinities. Here, the Guardian Protector of the East sits upon a demon symbolic of the obstacles that must be overcome to attain enlightenment, such as egoism and greed. In most Chinese imagery, the Guardian of the East brandishes a sword, but he is shown with a bow and arrow in the southwest province of Yunnan, which from the tenth to the thirteenth century was under the control of the independent Dali kingdom. The inclusion of arsenic in the copper alloy used to cast this sculpture is also typical of Yunnan.. Guardian Protector of the East (Dongfang chiguo tianwang) 58453

Figure of Guanyin. Culture: China. Dimensions: H. 19 1/4 in. (48.9 cm). Museum: Metropolitan Museum of Art, New York, USA.

Head of Buddha Shakyamuni. India, Uttar Pradesh, Sarnath, circa 475. Sculpture. Sandstone

Buddha on Stand ca. 7th century Korea. Buddha on Stand 57575

The bodhisattva Maitreya, anonymous, 500 - 525 Ship limestone Ship limestone

The Monk Budai, 1400s-1500s. China, Ming dynasty (1368-1644). Wood; overall: 68 cm (26 3/4 in.).

Standing Buddha. Korea, Unified Silla Kingdom (676-935), 9th-early 10th century. Sculpture. Cast bronze with gilding

Wooden Guanyin from China. Dated 12th Century

Buddha. Culture: China. Dimensions: H. 6 1/2 in. (16.5 cm). Museum: Metropolitan Museum of Art, New York, USA.

Pillar Support of an Addorsed Female Bodhisattva and an Offering Goddess Made 1401-1500 Tibet. Gilt bronze with gemstones .

Seated Buddha. Culture: China. Dimensions: Overall: H. 3 3/8 in. (8.6 cm); W. 3 1/2 in. (8.9 cm); D. 3 in. (7.6 cm). Date: 18th-19th century. Museum: Metropolitan Museum of Art, New York, USA.

Ancient Buddha sculpture, which offers protection from Bihar, India Ancient Buddha sculpture that offers protection from Bihar, India

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