Buddhist Sculptures Collection

A series of intricately crafted Buddhist sculptures depicting figures like Buddha, Tara, and Avalokitesvara. The artworks showcase diverse styles and materials across centuries.

Buddha Buddha, Thailand, 15th century, bronze, MuEC, Barcelona, Catalonia, Spain LicenseRF Copyright: xZoonar.com/BartomeuxBalaguerxRotgerx 23171185

Buddha Sakyamuni. unknown, sculptor

bodhisattva avalokitesvara, Chinese Song Dynasty Buddhist sculpture. 960-1279 AD

Seated Tara. Culture: Tibet. Dimensions: H. 9 in. (22.9 cm); W. 7 in. (17.8 cm). Date: 15th-16th century. Museum: Metropolitan Museum of Art, New York, USA.

The Buddhist Goddess Tara. India, Odisha (Orissa) (), 11th century. Sculpture. Brass

Avalokitesvara (common name). Bronze lacquered and gilded. Cernuschi Museum, Asia Museum of Asia in the city of Paris.

Buddha Buddha, Thailand, 15th century, bronze, MuEC, Barcelona, Catalonia, Spain LicenseRF Copyright: xZoonar.com/BartomeuxBalaguerxRotgerx 23171185

SeatedBuddha

Vairochana Buddha Seated Giving the First Sermon (Dharmachakramudra) 1675-1725 Mongolia. Gilt bronze .

Bodhisattva Avalokitesvara, 900-1200. Himalyas, probably Tibet, 10th-12th century. Wood; overall: 43.8 cm (17 1/4 in.).

The Bodhisattva Avalokiteshvara Seated in Royal Ease late 10th-early 11th century Cambodia The Buddhist embodiment of infinite compassion, the Bodhisattva Avalokiteshvara, is rarely represented in the rajalilasana seated posture more associated with rulers and Hindu gods. Monumental metal sculpture represents the apogee of Khmer artistic production, and this image is one of few large-scale images from the Angkorian period to have survived intact. In Khmer royal-cult practices, a close identification between a ruler and his chosen deity was customary; thus this figure, so unusually seated in a kinglike posture, may have been intended to serve as both a representation of the bodhisattva and a portrait of the ruler-patron for whom it was commissioned. Without the representation of the Amitabha Buddha, the spiritual mentor of Avalokiteshvara, in its elaborately coiffured chignon, this realistic image could be mistaken for a secular portrait. Listen to experts illuminate this artwork's stor

Vairochana Buddha Seated Giving the First Sermon (Dharmachakramudra). Mongolia; School of Zanabazar. Date: 1675-1725. Dimensions: 21.5 x 14.7 x 16.6 cm (8 1/2 x 5 3/4 x 6 1/2 in.). Gilt bronze. Origin: Mongolia. Museum: The Chicago Art Institute, Chicago, USA.

Bodhisattva Avalokiteshvara (Guanyin). Culture: China. Dimensions: a) Guanyin: 39 1/4 in. (99.7 cm)b) Inscribed block: H. 6 1/2 in. (16.5 cm); W. 2 1/4 in. (5.7 cm); D. 1 in. (2.5 cm). Date: dated 1282.A removable panel in the back of this image gives access to a hollow interior that would have been filled with offerings at the time of the piece's consecration. The interior surface of the panel bears a date (1282) and a small bronze mirror that functioned as a protective talisman. The bodhisattva has a rounded physique and stands in a slightly twisting pose, which creates a sense of depth. Both conventions attest to the introduction of Indo-Himalayan sculptural traditions in China in the thirteenth and fourteenth centuries, when the Mongols controlled both China and parts of Tibet. The elaborate coiffure also derives from these traditions. Museum: Metropolitan Museum of Art, New York, USA.

One of the Five Celestial Buddhas, Seated with Hands in Gestures of Meditation (Dhyanamudra) and Reassurance (Abhaymudra) 1403-1424 China. Gilt copper alloy .

Buddha Sakyamuni. unknown, sculptor

Seated Esoteric Buddhist Deity. Culture: Indonesia (Java). Dimensions: H. 6 3/5 in. (16.8 cm). Date: ca. second half of the 11th-century. Museum: Metropolitan Museum of Art, New York, USA.

Pair of bodhisattvas, 1770, 8 5/8 x 4 5/8 in. (21.84 x 11.75 cm), Gilt bronze, China, 18th century, Such popular Buddhist images as Avalokitesvara, the compassionate one, were occasionally produced in sets. Since the act of making or commissioning a religious work was considered pious in itself, those who could afford it often commissioned multiple images. Here the jeweled and crowned deity is represented as a perfectly poised yogi seated in the lotus posture on a dais, the hands placed together in the lap forming the dhyana mudra, the gesture of meditation. The figures are set off by aureoles adorned with a flame motif representing purity. The identical inscriptions written in Chinese characters across the bases read: 'Reverently made in the gengyin year of Qianlong (1770) during the great Qing Dynasty.'

Seated Buddha 7th-8th century Cambodia or Vietnam This is one of a small group of early Southeast Asian Buddhas. The figure sits in a cross-legged posture with his hands in a gesture signifying meditation (dhyanamudra). The statue is in a style of the seventh century associated with the Mekong Delta and the Zhenla kingdom.. Seated Buddha 38157

Seated Guanyin, 1368-1644. China, Ming dynasty (1368-1644). Gilt bronze with polychromy; overall: 30.2 x 19.3 x 20.4 cm (11 7/8 x 7 5/8 x 8 1/16 in.).

White-Robed Guanyin (Avalokiteshvara) in Thrice-Bent Pose (Tribhanga), Holding a Vase with Nectar of Immortality (Amrta) 600 CE-618 CE China. Gilt copper alloy .

Bodhisattwa Amitajus unknown

Amoghasiddhi, the Transcendent Buddha of the North. Culture: Western Tibet. Dimensions: H. 8 in. (20.3 cm); W. 3 1/2 in. (8.9 cm); D. 2 3/8 in. (6 cm). Date: late 10th-early 11th century.Amoghasiddhi is one of the five Transcendent Buddhas of Esoteric Buddhism. He displays a four-pronged visvavajra, or thunderbolt emblem, signifying the lightning speed of enlightenment offered by the esoteric path. Garuda, his traditional mount, kneels beneath the architectural throne support. Stylistically, this icon has clear debts to the greater Kashmiri world but was likely produced in western Tibet. Museum: Metropolitan Museum of Art, New York, USA.

Figure of Guanyin, anonymous, 1050 - 1200 Avalokitesvara (Guanyin), sitting with a wish jewel in the left hand and making a gesture of blessing with the right. China bronze (metal). gilding (material) gilding Avalokitesvara (Guanyin), sitting with a wish jewel in the left hand and making a gesture of blessing with the right. China bronze (metal). gilding (material) gilding

Old Buddha sculpture, bronze, gilded, Vajradhara, from Tibet

Eleven-Headed Guanyin, late 600s. China, Tang dynasty (618-907). Wood; height: 62.9 cm (24 3/4 in.). Guanyin, the bodhisattva of infinite compassion, can be identified by his attributes, carrying a tiny Amida Buddha in his crown, and holding a bottle with the nectar of life in his left hand. The eleven-headed Guanyin, in particular, has his eyes and ears open in all directions to hear, see, and help all those who are in distress. The garment and jewelry of this graceful figure remind us that the historic Buddha Shakyamuni was originally an Indian prince before he reached enlightenment. Upon his death, he entered nirvana, an eternal state free of desire and suffering, outside the realm of birth, death, and rebirth. The dating and attribution of the figure as being from China needs further study.

Udhyana Buddha, 14th century, 5 in. (12.7 cm), Gilt bronze, China, 14th century, This small bronze statue demonstrates how images and styles spread throughout the Buddhist world. The depiction is said to be based on a sandalwood sculpture commissioned by King Udhyana in India during the lifetime of the historical Buddha (c. 400s BCE). A copy was brought to China in 405 CE and later transferred to the Da Shang Shou An Si temple in Beijing in 1289 CE. The casting of this miniature bronze shows Nepalese influence, a result of the Yuan dynasty emperor, Kublai Khan (r. 1260-94), who was a devout practitioner of Tibetan Buddhism (Lamaism). At his court, Khan kept Tibetan advisors, tutors, and 24 Nepalese artisans, led by Aniko, a master artist from the Kathmandu Valley.

Indra. Indra, the king of the gods, is seated in the relaxed pose known as the maharajalila-asana (at royal ease’). On either side of his shoulders are two lotus flowers. Attached to the left flower is a thunderbolt, Indra’s primary attribute, while on the right flower is a manuscript.

Buddha Sheltered by a Naga 12th century Cambodia This sculpture depicts the serpent king Muchilinda protecting the Buddha Shakyamuni from heavy rains. There are numerous extant Cambodian images of this configuration because it was the focus of a cult during the reign of the Cambodian king Jayavarman VII, who ruled the Khmer empire from about 1181 to 1218. Although this scene had been depicted earlier in South and Southeast Asian art, it was the Khmer who popularized it. The reasons that Jayavarman chose to stress the Muchilinda Buddha remain speculative. Snakes were associated with healing, and perhaps because Jayavarman may have been lame, he emphasized healing, as indicated by his construction of hospitals throughout the kingdom. (From Life of the Buddha). Buddha Sheltered by a Naga. Cambodia. 12th century. Bronze. Angkor period. Sculpture

Seated Buddha, 1000s. Painted wood; overall: 54.6 cm (21 1/2 in.).

Buddha Bhaishajyaguru (). Indonesia, Central Java, circa 900-950. Sculpture. Copper alloy

Buddha Shakyamuni. Thailand, Mon-Dvaravati, circa 8th-9th century. Sculpture. Copper alloy with lacquer and gilding

Ancient Buddha sculpture, bronze, Buddha in meditation, gilded, from Thailand

Kannon, the Bodhisattva of Compassion, 13th century, Unknown Japanese, 30 11/16 x 10 5/8 x 10 5/8 in. (77.95 x 26.99 x 26.99 cm), Japanese cypress wood with lacquer, gold, and inlaid glass, Japan, 13th century, This handsome, youthful male figure represents Kannon, a compassionate Buddhist deity who has forgone his own enlightenment in order to guide earthly beings along the Buddha path. In Japanese Buddhist art, Kannon takes various forms. Here, leaning forward with upturned, open hands, he is an attendant to Amida, a buddha who descends from the heavens to greet the faithful at the moment of their death and deliver them to paradise. This sculpture would have stood on an altar to the right of a larger sculpture of Amida. Kannon originally held a lotus pedestal (now missing) on which the dead were placed for their journey to paradise.

Seated Buddha, c. 1400s. Thailand, Chiang Mai, Chiengsen Period, 15th Century. Bronze; overall: 85.1 cm (33 1/2 in.).

Vajrasattva is a bodhisattva in the Mahayana, Mantrayana and Vajrayana Buddhist traditions. In the Japanese Vajrayana school of Buddhism, Shingon, Vajrasattva is the esoteric aspect of the bodhisattva Samantabhadra and is commonly associated with the student practitioner who through the master's teachings, attains an ever-enriching subtle and rarefied grounding in their esoteric practice. In Tibetan Buddhism Vajrasattva is associated with the Dharmakaya and also with purification practice. Vajrasattva appears principally in two Buddhists texts: the Mahavairocana Sutra and the Vajrasekhara Sutra. In the Diamond Realm Mandala, Vajrasattva sits to the East near Akshobhya Buddha. (Photo by: Robert Aichinger/Pictures From History via Getty Images)

Statuette representing a divinity, Ming dynasty, gilded bronze

Shrine with a Seated Male Deity, 1300s-1400s. South India, Kerala Style, c. 14th-15th century. Bronze ; overall: 53.5 x 23 x 21.5 cm (21 1/16 x 9 1/16 x 8 7/16 in.).

Enshrined Buddha, c. 1850, 41 1/2 x 32 x 23 in. (105.41 x 81.28 x 58.42 cm), Wood, lacquer, gold leaf, mirrors and colored glass inlay, Myanmar (Burma), Mandalay Style, Seated in the bhumisparśamudra, or earth-touching gesture, this statue depicts the Buddha just before his enlightenment under the bodhi tree. The events leading up to this moment are often described as a powerful battle between good and evil, delusion and insight. Mara, the god of illusion, attacked the Buddha, challenging the young princes right to destroy him. In response, the Buddha reached his right hand down, calling the earth as witness to his good deeds over many lifetimes. In accounts from Southeast Asia, the goddess of the earth emerged and flooded the earth, destroying Mara and his armies.

Seated Buddha ca. 7th-8th century Pakistan. Seated Buddha 39217

Vairochana, the Transcendent Buddha of the Center. Culture: Pakistan (possibly Gilgit region). Dimensions: H. 13 in. (33 cm); W. 7 7/16 in. (18.9 cm); D. 3 7/16 in. (8.7 cm). Date: 9th-early 10th century.Vairochana is the presiding deity in the group of the five Transcendent Buddhas of Esoteric Buddhism. Lions are his traditional mounts.. Museum: Metropolitan Museum of Art, New York, USA.

'Bodhisattva Maitreya'. Nepal, 17th century. Dimensions: h. 20 cm. Museum: State Hermitage, St. Petersburg.

Buddha Buddha, northern Thailand, 14th century, bronze, MuEC, Barcelona, Catalonia, Spain LicenseRF Copyright: xZoonar.com/BartomeuxBalaguerxRotgerx 23171182

Bodhisattva Padmapani, 900s. Java, predating Nganjuk style, 10th century. Bronze; overall: 7.3 cm (2 7/8 in.).

Bodhisattva Avalokiteshvara (Guanyin) late 10th-early 11th century China It is rare to find a sculpture of Avalokiteshvara seated with his legs folded as if in meditation. He is most often shown standing or seated with one leg bent and the other pendenta pose known as “royal ease.” One exception is when Avalokiteshvara appears in scenes of the Pure Land of the Buddha Amitabha. It is possible that this sculpture was part of such a composition.. Bodhisattva Avalokiteshvara (Guanyin). China. late 10th-early 11th century. Wood (foxglove) with pigments, gilding, quartz and carnelian; single woodblock construction. possibly Northern Song dynasty (960-1127). Sculpture

Tara, also known as Jetsun Dolma (Tibetan: rje btsun sgrol ma) in Tibetan Buddhism, is a female Bodhisattva in Mahayana Buddhism who appears as a female Buddha in Vajrayana Buddhism. She is known as the 'mother of liberation', and represents the virtues of success in work and achievements. In Japan she is known as Tarani Bosatsu, and as Tuoluo in Chinese Buddhism. Tara is a tantric meditation deity whose practice is used by practitioners of the Tibetan branch of Vajrayana Buddhism to develop certain inner qualities and understand outer, inner and secret teachings about compassion and emptiness. Tara is actually the generic name for a set of Buddhas or bodhisattvas of similar aspect. These may more properly be understood as different aspects of the same quality, as bodhisattvas are often considered metaphoric for Buddhist virtues.

Karaikkal Ammaiyar, Shaiva Saint ca. late 13th century India (Tamil Nadu) Ammaiyar, a sixth-century South Indian Shaiva poet saint, achieved her emaciated state after beseeching Shiva to free her from all her worldly encumbrances, including her famed beauty. He granted her wish, transforming her into a withered old woman, and she delighted in devoting her life to composing hymns in praise of her Lord. Here, she is seen singing Shivas praises, accompanying herself with a pair of cymbals. Her hymns celebrate Shivas predilection for cremation grounds and for his wild dancing form as Nataraja.. Karaikkal Ammaiyar, Shaiva Saint. India (Tamil Nadu). ca. late 13th century. Copper alloy. Chola period (880-1279). Sculpture

Bodhisattva, mid-1200s. Japan, Kamakura period (1185-1333). Wood with traces of lacquer, polychromy, and cut gold lear (kirikane); overall: 64.8 cm (25 1/2 in.).

'Crowned Buddha Maravijaya'. Siam (now Thailand).Lanna art (Extreme North area), 16th century. Dimensions: h. 38,5 cm. Museum: State Hermitage, St. Petersburg.

. The Bodhisattva Seishi, half squat half kneeling and with the hands in Kongo Gassho (Anjali-Mudra), held vertically against each other before the chest. The base is included under inventory number AK-MAK-119-1.

Enthroned Buddha Preaching, 700s-800s. Myanmar or Thailand. Copper alloy with gilding; overall: 55.1 x 24.1 x 26 cm (21 11/16 x 9 1/2 x 10 1/4 in.).

Statue of Amitabha, 800s. Korea, Unified Silla period (676-935). Gilt bronze; overall: 22.5 x 7.2 x 7.2 cm (8 7/8 x 2 13/16 x 2 13/16 in.).

Buddha Shakyamuni. Northern Thailand or Northwestern Laos, 1563. Sculpture. Copper alloy with traces of gilding

Bodhisattva, c. 1200-1250. Japan, Kamakura period (1185-1333). Lacquered wood with color, gilt copper and cut-gold (kirikane); with base: 76.2 cm (30 in.); without base: 55.9 cm (22 in.). This sculpture represents one of two bodhisattvas who flank the Buddha Amida, the Buddha of Infinite Life and Light. He has one foot in front of the other and his right leg bent at the knee to show that he is in motion; his torso also sways. He accompanies Amida as he descends to collect a dying person who has asked to be born after death into Amidas Pure Land, a place conducive to progressing along the path to enlightenment.

Bodhisattva Avalokiteshvara 7th century Pakistan (Swat Valley) This is one of the greatest early medieval metal icons associated with Buddhist art of the Swat Valley. The work is closely connected to related major schools of religious image making in Gilgit (northern Pakistan) and Kashmir, and its physiognomy and drapery embodies elements of the late Gandharan style. The four-armed form of Avalokiteshvara marks the beginning of a long tradition of figures known as the Bodhisattva of the six-syllables,” associated with the famous prayer Om Manipade Hum.” This iconographic form is a visualization of that prayer.. Bodhisattva Avalokiteshvara 77918

Sculpture Dainichi Nyorai buddha sitting on a lotus throne unknown

Buddha Seated in Meditation. Culture: Sri Lanka. western regions. Dimensions: H. 19 3/16 in. (48.7 cm); W. 14 3/16 in. (36 cm); D. 7 7/8 in. (20 cm). Date: 16th century.This majestic Buddha is one of the finest products of sixteenth-century Sri Lankan Buddhist art. The figure is seated on a lotus-vine pedestal, deep in meditation. Numerous auspicious marks (lakshana) on his body signify his Buddhahood. Convention dictates thirty-two mahapurusalakshana and eighty lesser marks, such as the forehead mark (urna), flame protuberance (ushnisha), extended earlobes and locks of hair, and lotuses on the hand and feet. Museum: Metropolitan Museum of Art, New York, USA.

Bodhisattva of Wisdom (Manjushri), 1400s. Nepal, 15th century. Gilt bronze; overall: 78.1 x 67.6 cm (30 3/4 x 26 5/8 in.). This image depicts one of the main bodhisattvas, beings only one stage away from full enlightenment. Because the historical Buddha was a prince prior to his renunciation and life as a wandering ascetic, bodhisattvas are depicted as royal princes. This example has the sharp features, sweet expression, and crisp details characteristic of images made in Nepal during the 1400s. In his upraised right hand Manjushri holds the hilt of a sword that, like wisdom itself, metaphorically cuts through and defeats ignorance. His lower, rear left hand grasps a bow, once probably strung with a wire. Also missing is the arrow that he likely held in his lowered right hand. Arrows were often symbols for mantras, or strings of syllables thought to have the power to focus the mind and work like missiles to destroy negativity and affliction. The gesture of his lowered left hand indicat

Chakra-Purusha, the Personified Discus Weapon of Vishnu 10th-early 11th century India (Tamil Nadu) Early in the evolution of Hindu iconography, a convention emerged of representing the weapons of the gods as minor deities in human form. The ayudya-purusha (weapon-man) anthropomorphic forms evolved uniquely in South India as freestanding icons, worthy of worship independent of their source deityin this case, Vishnu. This personified weapon is thus revered as an ansa, a partial incarnation of the god himself.. Chakra-Purusha, the Personified Discus Weapon of Vishnu. India (Tamil Nadu). 10th-early 11th century. Copper alloy. Chola period. Sculpture

Thailand, Gilded bronze statue of Buddha

Vajrabhairava. Culture: Tibet. Dimensions: H. 7 in. (17.8 cm). Date: 15th century.Vajrabhairava is one of the wrathful deities that preside over the great tantras (ritual texts) of the highest yoga as supreme protectors of the Buddhist faith. Museum: Metropolitan Museum of Art, New York, USA.

The Hindu God Vishnu

Vairochana, the Supreme Transcendent Buddha 11th-12th century Nepal (Kathmandu Valley) Vairochana is the original of the five Transcendent Buddhas of Vajrayana Buddhism, identified by his hands held in bodhyagri mudra, an esoteric gesture denoting the zenith of the universe. Considered the primoridal Buddha, he is understood to reside at the center of Buddhist cosmology.. Vairochana, the Supreme Transcendent Buddha. Nepal (Kathmandu Valley). 11th-12th century. Gilt-copper alloy with gold paint and blue pigment. Thakuri period. Sculpture

Der tibetische transzendente Buddha Aksobhya Tibetan Transcendent Buddha Aksobhya, Western Tibet, 14th century, brass, MuEC, Barcelona, Catalonia, Spain LicenseRF Copyright: xZoonar.com/BartomeuxBalaguerxRotgerx 23171194

Bodhisattva Avalokiteshvara (Guanyin). Culture: China. Dimensions: H. 39 2/3 in. (100.8 cm). Date: Style of the late 6th-early 7th century. Museum: Metropolitan Museum of Art, New York, USA.

Bodhisattva Guanyin datable to1678 China Like many Buddhist sculptures, this one originally contained, in its hollow interior, a paper dedication inscribed with the patrons wishes. Though the bodhisattva does not take the outward form of Guanyin the Bringer of Sons, the inscription expresses the patrons hope for a male heir: “The [Buddhist believers Kong Xishan and his wife wholeheartedly commission the carving of this golden-bodied Guanyin in order to entreat [Guanyin to fulfill our wishes that we may live together to old age and have a fine son soon.”. Bodhisattva Guanyin 61765

Bodhisattva. Culture: China. Dimensions: H. 20 in. (50.8 cm); W. 12 in. (30.5 cm); D. 8 in. (20.3 cm). Date: 14th century. Museum: Metropolitan Museum of Art, New York, USA.

Image of a seated Bodhisattva. Image of a seated Bodhisattva (Mahsthamaprapta). The Bodhisattva holds a lotus stalk in its right hand. It keeps his left hand with the palm up to his waist.

Crowned Buddha. Buddha (crowned) seated on single lotus cushion.

Seated Bodhisattva China. Seated Bodhisattva. China. Lacquer. early Ming dynasty (1368-1644). Sculpture

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

Nyoirin Kannon. Culture: Japan. Dimensions: H. 16 9/16 in. (42.1 cm); W. 12 1/8 in. (30.8 cm); D. 10 1/4 in. (26 cm). Date: dated 1693.The bodhisattva Kannon (Sanskrit: Avalokiteshvara) manifests in many forms, each of which demonstrates aspects of his compassion and salvific vows. This small sculpture shows the bodhisattva in an Esoteric Buddhist form called Nyoirin, indicating the attributes most commonly held in his hands, the wish-fulfilling jewel (nyoi) and the wheel (rin) of the Dharma, or Buddhist teachings. While many images of the bodhisattva have six arms, this sculpture has two. An inscription carved into the base indicates that it was a votive offering to a temple given in the fifth month of 1693. As the names of the donors indicate that they were women, it is possible that the sculpture was dedicated on the occasion of a monthly ritual popular in the Edo period called the jukuya-ko, an assembly of female Buddhists that took place on the nineteenth of the month for health

Bodhisattva Guanyin datable to 1624 China Downcast eyes and clasped hands impart a serene quality to this intimately scaled Guanyin. A dated inscription on silk found in the sculptures interior reveals that it was commissioned in 1624 by a devotee named Wang Shichun and his wife, surnamed Li. Like many in premodern China, they turned to Guanyin for help; this sculpture allowed them to venerate the bodhisattva daily, in their home.. Bodhisattva Guanyin. China. datable to 1624. Sandalwood with lacquer. Ming dynasty (1368-1644). Sculpture

Yama, Lord of Death: Regent of the South 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.Yama, Lord of Death is Regent of the South. He holds the remains of a staff. His mount is the buffalo.. Yama, Lord of Death: Regent of the South. Sri Lanka. 9th century. Bronze. Anuradhapura period. Sculpture

The bodhisattva Manjushri, anonymous, c. 800 - c. 900 Plaosan Temple andesite Plaosan Temple andesite

Indra , Indrani, anonymous, c. 1600 - c. 1700 The God Indra sitting in a Maharajalilasana. Nepal bronze (metal). gilding (material). precious stone (material) gilding The God Indra sitting in a Maharajalilasana. Nepal bronze (metal). gilding (material). precious stone (material) gilding

Bodhisattva Mahasthamaprapta (Dashizhi) 13th century China. Bodhisattva Mahasthamaprapta (Dashizhi). China. 13th century. Wood (willow) with traces of pigment and gilding, single-woodblock construction. Jin dynasty (1115-1234). Sculpture

Seated Tara second half of the 9th-early 10th century Indonesia (Java). Seated Tara 38276

. As a sign of their importance, Buddhist deities were sometimes depicted in gold and silver. The Bodhisattva Avalokiteshvara, here in silver, is revered as a powerful helper in the lives of ordinary people. He is shown in deep contemplation of the world. The heavenly Buddha Vairocana, here in gold, holds his hands in the bodhyagrimudra, the hand gesture of highest insight.

'Bodhisattva Maitreya'. Mongolia, 18th century. Dimensions: height 23,5 cm. Museum: State Hermitage, St. Petersburg. Author: Master: Master Zanabazar (school of).

Deified King, late 10th century, 41 x 20 3/4 x 19 1/8 in. (104.14 x 52.71 x 48.58 cm), Sandstone, Vietnam, 10th century, This sculpture, likely of a deified king, originates from the Champa Kingdom, in what is today South Vietnam. A sculptor carved its bold forms at the height of the kingdoms strength, when Champa maintained economic, political, and religious links with China, India, and the Khmer civilization in Cambodia. Champa rulers endorsed the concept of deified kingship, and their stylized portraits were at times integrated into court-sponsored Hindu and Buddhist temples, to which this sculpture might have once belonged. Enthroned, the king sits in a yogic posture holding lotus flowers in his outstretched hands, emphasizing his purity. The texture of the necklace beads resemble Rudraksha seeds, associated with the Hindu god Shiva, to whom Champa kings were devotees. His hairstyle, in elaborate braids, also refers to the powerful deity.

Standing Tara, 1300s. Nepal, c. 14th Century. Bronze, gilded; overall: 10.3 cm (4 1/16 in.).

The Bodhisattva Maitreya, the Buddha of the Future. Culture: Nepal. Dimensions: H. 26 in. (66 cm); W. 8 1/4 in. (20.9 cm). Date: 11th century.Maitreya, the messianic bodhisattva characterized as the Buddha of the Future, stands in a graciously exaggerated posture, the body beautifully counterbalanced. He holds his raised hand in the gesture of exposition (vitarka mudra) and in his lowered hand displays a flask (kamandalu) universally understood in South Asian culture as the container of amrta, the elixir of life. In a Buddhist setting, the flask is understood as the promise of Maitreya's coming. The elegant aesthetics of this sculpture embody contemporary eastern Indian Pala styles, yet it displays a startling elegance combined with an almost austere economy of surface decoration: jewelry is restrained, textile patterns minimally suggested. The scale is exceptional, as is the aesthetic sensibility of the artist responsible for this work. Museum: Metropolitan Museum of Art, New York, U

Historical Buddha Sakyamuni. Bihar, North East India. 8th-10th century. Carved stone. Museum of world Cultures. Barcelona.

Bronze Bodhisattva Avalokitesvara,Srivijaya style, from Chaya. Bangkok National Museum, Thailand

Tara, Buddhismus, tibet Tara, Buddhismus, tibet Copyright: xZoonar.com/LutzxWallrothx 856014

The Bodhisattva Maitreya, the Buddha of the Future 11th century Nepal Maitreya, the messianic bodhisattva characterized as the Buddha of the Future, stands in a graciously exaggerated posture, the body beautifully counterbalanced. He holds his raised hand in the gesture of exposition (vitarka mudra) and in his lowered hand displays a flask (kamandalu) universally understood in South Asian culture as the container of amrta, the elixir of life. In a Buddhist setting, the flask is understood as the promise of Maitreyas coming. The elegant aesthetics of this sculpture embody contemporary eastern Indian Pala styles, yet it displays a startling elegance combined with an almost austere economy of surface decoration: jewelry is restrained, textile patterns minimally suggested. The scale is exceptional, as is the aesthetic sensibility of the artist responsible for this work.. The Bodhisattva Maitreya, the Buddha of the Future 38328

Buddha Seated in Meditation 16th century Sri Lanka. western regions This majestic Buddha is one of the finest products of sixteenth-century Sri Lankan Buddhist art. The figure is seated on a lotus-vine pedestal, deep in meditation. Numerous auspicious marks (lakshana) on his body signify his Buddhahood. Convention dictates thirty-two mahapurusalakshana and eighty lesser marks, such as the forehead mark (urna), flame protuberance (ushnisha), extended earlobes and locks of hair, and lotuses on the hand and feet.. Buddha Seated in Meditation. Sri Lanka. western regions. 16th century. Copper alloy with gilding. Divided Kingdoms period. Sculpture

Medizin-Buddha Bhaisajyaguru Medicine Buddha Bhaisajyaguru, Western Tibet, 18th century, gilt copper, MuEC, Barcelona, Catalonia, Spain LicenseRF Copyright: xZoonar.com/BartomeuxBalaguerxRotgerx 23171514

Bodhisattva Manjushri as Tikshna-Manjushri (Minjie Wenshu) China Manjushri holds a sword in his primary right hand and a volume of the Perfection of Wisdom Sutra (which rests on a small lotus) in his left. Remnants of a bow and arrow can be seen in his secondary hands, and the combination of the four implements identify the sculpture as a Tikshna- Manjushri, a manifestation that refers to the bodhisattvas quick wit while further elucidating his position as an embodiment of spiritual wisdom. The inscription at the front of the lotus pedestal indicates that it was cast during the reign of the Yongle emperor, who is known to have followed esoteric or Tibetan Buddhist practices and to have sponsored the production of numerous sculptures in a style derived from India and the Himalayas. The soft folds of the clothing are typical of works produced in imperial workshops, as are the delicacy of the details and the rich pink tones of the gilding. Listen to experts illuminate this artwork's stor

Buddha Enthroned on a Serpent (Naga). Cambodia/Thailand. Date: 1201-1225. Dimensions: 22.9 × 10.5 × 7.7 cm (9 × 4 1/8 × 3 in.). Bronze. Origin: Cambodia. Museum: The Chicago Art Institute, Chicago, USA.

Seated figure, India, about 1100-1199 Tibet, abound 800-1900. The bronze and copper figure shows Avalokiteshvara, the embodiment of infinite compassion in Mahayana Buddhism.

The Hindu God Vishnu. India, Eastern Himachal Pradesh or Northern Uttar Pradesh, 11th-12th century. Sculpture. Brass

Image of the wealth god Kubera ,, 775 - 825 Image of the wealth god Kubera. Gedong Songo andesite. extrusive rock Image of the wealth god Kubera. Gedong Songo andesite. extrusive rock

Portrait of a Tibetan Lama, possibly the Seventh Dalai Lama 1801-1900 China. Gilt bronze alloy . Tibeto-Chinese

Akshobhya, the Buddha of the Eastern Pure Land 16th-17th century Nepal The Buddha reaches his right hand down in bhumisparsha mudra, marking the moment when the historic Buddha Shakyamuni called upon the earth goddess to witness his resistance of the forces of Mara, immediately prior to his experiencing enlightenment. In the Esoteric Buddhist tradition, this iconography is associated with Akshobhya, cosmic Buddha of the East. The lotus buds embellishing the mandorla and the open flower serving as his throne may refer to the celestial abode of Akshobhya. This icon may have been integrated into the wall of a stupa or shrine as part of a set of directional Buddhas.. Akshobhya, the Buddha of the Eastern Pure Land. Nepal. 16th-17th century. Terracotta. Sculpture

Stele of JinaParsvanatha

Buddha, Probably Amitabha early 7th century China The position of the Buddhas arms indicates that the hands were once held in a gesture of meditation and suggests that this sculpture represents Amitabha, a celestial Buddha who presides over his Western Paradise. Devotion to Amitabha, a major component of Chinese Buddhist practice since the sixth century, promotes the goal of rebirth in Amitabhas Pure Land, where conditions are conducive to achieving spiritual understanding. The sculpture was made using the dry-lacquer technique, in which a core (often made of wood) is covered with clay and then wrapped in layers of cloth that have been saturated with lacquer— a tree resin that hardens when exposed to oxygen. As many as seven or eight additional layers of lacquer might then be applied. In the eighth century, this technique spread from China to Japan, where it was used widely in the production of Buddhist sculptures. Listen to experts illuminate this artwork's story Listen Play or paus

'Seated Crowned Buddha in the Meditation Pose'. Siam (now Thailand). Ayutthaya art, Late 17th century. Dimensions: h. 22 cm. Museum: State Hermitage, St. Petersburg.

The Bodhisattva Avalokiteshvara. Sri Lanka, 8th-9th century. Sculpture. Copper alloy

A gilt-bronze statuette of a Bodhisattva on a lotus leaf, 10th century. Artist: Unknown

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