Historic Deities and Bodhisattvas

Ancient sculptures of deities and bodhisattvas from various cultures, showcasing meticulous craftsmanship and spiritual significance, made from different materials.

Brahma, anonymous, 800 - 900 Brahma, the figure is presented in a sitting position and has four heads. Two arms of the four have been demolished. Merak temple andesite Brahma, the figure is presented in a sitting position and has four heads. Two arms of the four have been demolished. Merak temple andesite

Meditating Bodhisattva 9th century Indonesia (Java). Meditating Bodhisattva 39030

Goddess White Tara with Kneeling Donor at Base. Tibet; Central Tibet. Date: 1101-1200. Dimensions: 7.3 × 4.8 × 2.3 cm (2 7/8 × 1 7/8 × 7/8 in.). Phyllite. Origin: Central Tibet. Museum: The Chicago Art Institute, Chicago, USA.

Brahma, anonymous, 800 - 900 Brahma, the figure is presented in a sitting position and has four heads. Two arms of the four have been demolished. Merak temple andesite Brahma, the figure is presented in a sitting position and has four heads. Two arms of the four have been demolished. Merak temple andesite

Surya, the Hindu Solar Deity 11th-12th century Nepal (Kathmandu Valley). Surya, the Hindu Solar Deity 38336

Vishnu Riding on Garuda dated 1004 Nepal 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 symbola 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.. Vishnu Riding on Garuda 78185

SIVA - DIOS HINDU. Location: PRIVATE COLLECTION. MADRID. SPAIN.

Pedra stone statue of Visnu on a lotus flower, from India. Dated 11th Century

The Bodhisattva Avalokiteshvara. Nepal, 15th century. Sculpture. Stone

Tantric Deities Hevajra and Nairatmya in Ritual Embrace (Yab-Yum) 1595-1605 Kathmandu Valley. Gilt bronze with pigments .

Birth of the Buddha, 800s. Northeastern India, Bengal, Pala dynasty (730-1197). Black chlorite; overall: 46.4 x 27.3 x 11.4 cm (18 1/4 x 10 3/4 x 4 1/2 in.).

Standing Shiva Mahadeva, 700s. Northern India, Kashmir, 8th century. Schist; overall: 53 cm (20 7/8 in.).

Mahakala Seated in Royal Ease. Culture: Tibet. Dimensions: H. 4 3/8 in. (11.1 cm); W. 3 5/8 in. (9.2 cm); D. 2 in. (5.1 cm). Date: 12th century.Mahakala, a fierce manifestation of the compassionate bodhisattva Avalokiteshvara, is the supreme guardian of the Buddhist dharma (teachings) for the Sakya monastic order. His wrathful nature destroys all negative forces impeding spiritual awakening. Here Mahakala is seated on a prostrate corpse, symbolizing the ignorance he destroys and displaying the tools he uses to achieve this end. Museum: Metropolitan Museum of Art, New York, USA.

Surya, the Hindu Solar Deity 14th century Nepal (Kathmandu valley) Surya is considered the source of light. His origins can be traced to the earliest Indian text, the Rigveda, and his conventional West Asian mode of dress affirms his links to the solar cults of early Iran. He wears a tunic and high boots typical of early Iranian imagery and holds two lotuses in full bloomemblems of the power of the sun.. Surya, the Hindu Solar Deity 75359

Shiva as Mrityunjaya, the Conquerer of Death 12th century Bangladesh or India (Bengal) This is an extremely rare representation of Shiva as Mrityunjaya, the destroyer of death and disease. He is shown deep in meditation in yogic form, as indicated by his interlocked legs and resting hands. The Uttarakamika, a ritual and iconographic text (agama), dictates that he should be represented in a tranquil state with three eyes, six arms, and matted dreadlocks (jatamukuta) adorned with the crescent moon. He displays a rosary and a water vessel, and his two missing hands would have held his trident (trisula) and a skull bowl (kapala), completing the ritually required iconography. A chain garland hangs below his legs (the text speaks of a garland of skulls). He is flanked by female attendants bearing fly-whisks and the hybrid bird-humans kinnara and kinnari, who provide music about his head. Celestial garland bearers hover above. His throne is a lotus pedestal with a makara-finial throne back. H

Seated Tara, the Buddhist Savior. Culture: Tibet. Dimensions: H. 4 5/8 in. (11.7 cm); W. 3 in. (7.6 cm); D. 2 1/8 in. (5.4 cm). Date: 13th-15th century.Tara offers boons with her right hand (varada mudra) and holds her left in a gesture of teaching (vitarka mudra). The image is remarkable for its elaborate gold and silver inlays, infusing life into the elaborate garments. Clearly, the patron's concern was to donate an exquisite image rather than one of larger scale. The figure reflects the earlier north Indian Pala style of the eleventh and twelfth centuries. Museum: Metropolitan Museum of Art, New York, USA.

The Bodhisattva Padmapani

Goddess Green Tara Seated with Hand in Gesture of Gift Giving (Varadamudra). Nepal. Date: 1501-1600. Dimensions: 17.8 x 7.6 x 5.5 cm (7 x 3 x 2 1/8 in.). Gilt copper alloy. Origin: Nepal. Museum: The Chicago Art Institute, Chicago, USA.

Yama, Lord of Death: Regent of the South. Culture: Sri Lanka. Dimensions: H. 9 in. (22.9 cm); W. 5 in. (12.7 cm); D. 3 7/8 in. (9.8 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.Yama, Lord of Death is Regent of the South. He holds the remains of a staff. His mount is the buffalo. Museum: Metropolitan Museum of Art, New York, USA.

Seated Esoteric Buddhist Deity. Culture: Indonesia (Java). Dimensions: H. 4 1/8 in. (10.5 cm). Date: ca. mid-10th or second half of the 10th century. Museum: Metropolitan Museum of Art, New York, USA.

Shiva with the Moon in his Hair. India, Tamil Nadu, Chola style, 17th century, bronze. The god is making the fear not gesture, with his front right hand and the varada inudra, the wish granting gestures, with his left, in his raised, rear hands he holds two of his attributes, an axe and a door. These attributes are found only in images of Shiva from South India.

Parvati Performing the Panchatapas (Five Austerities) Ritual. India, Rajasthan, 8th-9th century. Sculpture. Black stone

Wrathful Eight-Armed Goddess Slaying a Demon 16th-17th century Nepal (Kathmandu Valley). Wrathful Eight-Armed Goddess Slaying a Demon 38345

Four-Armed Goddess, possibly Sarada. Culture: India (Jammu and Kashmir, ancient kingdom of Kashmir). Dimensions: H. 12 3/8 in. (31.4 cm); W. 7 7/8 in. (20 cm); D. 3 in. (7.6 cm). Date: late 9th century.This crowned goddess, wearing a distinctive Kashmiri-style kurta-mode of dress, holds an upright sword in one hand and the severed head of a goat in the other. She likely represents Sarada (autumn), the Kashmiri synonym for Saravati, the goddess of learning. Her two lower hands rest on two diminutive male figures, each holding a manuscript, who presumably embody the complementary elements of knowledge (vidya) and wisdom (jnana) and consciously mimic Vishnu's personified weapons, the purusas. The Sarada Mahatmya speaks of offering meat to Sarada, a reminder of her Durga-like origins, alongside her role as the embodiment of knowledge texts. Museum: Metropolitan Museum of Art, New York, USA.

Goddess Vajravarahi, c. 1040-c. 1310. Nepal. Unbaked clay and pigment; overall: 63.5 cm (25 in.).

Avalokiteshvara, the Bodhisattva of Infinite Compassion 10th century Nepal (Kathmandu Valley) This elegant bodhisattva, with its gently flexed figure, heavy sash dropping from one hip, and unadorned torso, reflects Licchavi-period aesthetics. The elaborate lotus base and flame-emitting radiant nimbus derive from contemporary Buddhist imagery produced in eastern Indian under Pala-dynasty patronage. The fusion of these streams shaped future Nepalese Buddhist art.. Avalokiteshvara, the Bodhisattva of Infinite Compassion 39351

Shiva as Mrityunjaya, the Conquerer of Death. Culture: Bangladesh or India (Bengal). Dimensions: H. 38 in. (96.5 cm); W. 20 in. (50.8 cm); D. 7 1/2 in. (19.1 cm). Date: 12th century.This is an extremely rare representation of Shiva as Mrityunjaya, the destroyer of death and disease. He is shown deep in meditation in yogic form, as indicated by his interlocked legs and resting hands. The Uttarakamika, a ritual and iconographic text (agama), dictates that he should be represented in a tranquil state with three eyes, six arms, and matted dreadlocks (jatamukuta) adorned with the crescent moon. He displays a rosary and a water vessel, and his two missing hands would have held his trident (trisula) and a skull bowl (kapala), completing the ritually required iconography. A chain garland hangs below his legs (the text speaks of a garland of skulls). He is flanked by female attendants bearing fly-whisks and the hybrid bird-humans kinnara and kinnari, who provide music about his head. Celestial

Vishnu Accompanied by Lakshmi and Sarasvati. Culture: Bangladesh. Dimensions: H. 47 in. (119.4 cm); W. 25 in. (63.5 cm); D. 9 in. (22.9 cm). Date: 12th century.Vishnu stands in perfect symmetry (samapada), the protector of cosmic order. In an iconographic convention unique to medieval Bengal, he is accompanied by the goddesses Lakshmi, holding a fly-whisk (camara) and lotus (padma), and Sarasvati, playing a vina, rather than by his wives Sri Devi and Bhu Devi. He is also closely associated with Priti, the earth goddess, who often appears between his feet. The goddesses in turn are flanked by two miniature figures, the male personifications of Vishnu's weapons, the conch (sankha) and the discus (cakra). Vishnu himself is four armed and displays his principal attributes, the discus, conch, club (gada), and lotus (padma), and he wears both a sacred cord (upavita) and a long garland (vanamala), which hangs to his knees. The richly elaborated backplate features mythical animals and celesti

Naga-enthroned Buddha, 12th-13th century, 16 3/8 x 6 5/8 x 3 13/16 in. (41.59 x 16.83 x 9.68 cm), Bronze, Cambodia, 12th-13th century, Siddhartha Gautama, who would become the Buddha, attained enlightenment after meditating for seven weeks under an ancient bodhi fig tree. During that time, he endured a week of drenching rain protected by the spreading hood of the naga (snake) King Mucalinda. Along with the Thai 'Walking Buddha,' this depiction of the Buddha sheltered by Mucalinda gained special meaning in Southeast Asia. The image was popular under the Khmer King Jayavarman VII (reign c. 1181-1218), who replaced the official state religion of Hinduism with Buddhism and erected a sculpture of the snake-enthroned Buddha at the site of a Hindu temple. Jayavarman VII possibly selected this moment from the Buddhas life story because snakes, which are prominent in Khmer art, are associated with water, a resource critical for a vast kingdom dependent on a complex system of hydraulics and irr

The Buddhist Deities Chakrasamvara and Vajravarahi. Nepal, Dated 1759. Sculpture. Gilt copper alloy

Seated Bodhisattva Vajrasattva ca. first quarter of the 10th century Indonesia (Java). Seated Bodhisattva Vajrasattva 39055

Vishnu on Garuda 15th century Nepal (Kathmandu Valley) This plaque shows Vishnu carried by Garuda, whose talons clasp nagas (snakes) in a deadly grip. Vishnu's two consorts, Saraswati and Lakshmi, accompany him, effortlessly supported by Garuda's mighty outspread wings. The framing backplate is populated by ascetics and other devotees, who gesture reverently.. Vishnu on Garuda. Nepal (Kathmandu Valley). 15th century. Ivory. Sculpture

Ritual Diadem Plaque with a Buddha Surmounting a Skull. Nepal, 17th century. Sculpture; plaques. Ivory

Standing Ganesha 16th-17th century Nepal (Kathmandu Valley). Standing Ganesha 38440

Paris, France. Asian antiquities on display primarily from Tibet. (Editorial Use Only)

Eleven Headed Avalokitesvara, 1500s-1600s. Nepal, 16th-17th century. Painted ivory; overall: 21 cm (8 1/4 in.).

Jaina Tirthankara Chandraprabha Standing in Meditation (Kayotsarga) 1101-1200 Karnataka. Schist .

Enthroned Vishnu second half of the 8th-early 9th century India This monumental sculpture—the largest in the Museum’s South Asian collection—is a rare example of the art of the Pandya dynasty, which, along with the Pallava dynasty, initiated the first great phase of temple building in South India. Vishnu sits on a lion throne in the relaxed, regal posture of lalitasana. His role in Hinduism is to restore order to the human world and to combat evils that threaten the stability of the universe. He originally held a conch (used as a battle trumpet) in his upper left hand and a war discus in his upper right, and his lower right hand was raised in abhaya-mudra. Listen to experts illuminate this artwork's story Listen Play or pause #7950. Seated Four-Armed Vishnu, Part 1 Play or pause #7950. Seated Four-Armed Vishnu, Part 2 Supported by Bloomberg Philanthropies We're sorry, the transcript for this audio track is not available at this time. We are working to make it available as soon as p

Jaina Tirthankara Parshvanatha with Serpent Hood Seated in Meditation (Dhyanamudra). India; Karnataka. Date: 1101-1200. Dimensions: 85.3 x 74.0 x 23.8 cm (33 9/16 x 29 1/8 x 9 3/8 in.). Chlorite. Origin: Karnataka. Museum: The Chicago Art Institute, Chicago, USA.

Durga Slaying the Buffalo Demon Mahisha, 800s. India, Badra, Central Northeastern style, early Medieval, 9th century. Stone; overall: 39.5 x 16.1 x 12 cm (15 9/16 x 6 5/16 x 4 3/4 in.).

Mahavairochana, Pala, 12th century. Nalanda, Bihar. Bronze. Vairocana (also Mahavairocana) is a cosmic buddha from Mahayana and Vajrayana Buddhism

Four-Armed Bodhisattva 801 CE-1000 Central Java. Bronze .

God Shiva as Lord Who Is Half-Male, Half-Female (Ardhanarishvara) 1301-1400 Tamil Nadu. Granite .

Vishnu, 900-950. South India, Tamil Nadu, probably Pudokkatai, early Chola Dynasty, 10th Century. Granite; overall: 129.5 x 38.1 cm (51 x 15 in.). Vishnu is shown here in his form as supreme lord, his high crown indicative of his royal aspect; his four arms reveal his superhuman nature. His upper right hand holds a discus, seen from the side. In his upper left hand he holds the conch shell.

God Shiva as the Supreme Teacher (Dakshinamurti) 901 CE-1000 Kodumbalur. Granite .

Bodhisattva 9th century Bangladesh. Bodhisattva. Bangladesh. 9th century. Bronze. Sculpture

Seated Four-Headed and Four-Armed Jambhala(), the Buddhist God of Wealth late 9th-early 10th century Indonesia (Java). Seated Four-Headed and Four-Armed Jambhala(), the Buddhist God of Wealth 39016

The Hindu God Vishnu on His Mount Garuda. Nepal, 14th century. Sculpture. Stone

Male deity, anonymous, 800 - 930 Buddhist () Image fragment. Two-poorness; Too few attributes have been preserved for a certain attribution. Middle Java andesite Buddhist () Image fragment. Two-poorness; Too few attributes have been preserved for a certain attribution. Middle Java andesite

Ancient chakra-purusha sculpture of Vishnus Discus weapon, 10th century Tamil Nadu Art Antiquity Chakra-Purusha sculpture by Vishnus Discus weapon, 10th century Tamil Nadu Art

Bodhisattva Avalokiteshvara (Guanyin). Culture: Tibet. Dimensions: H. 12 5/8 in. (32.1 cm); W. 3 5/8 in. (9.2 cm); D. 3 1/4 in. (9.3 cm). Museum: Metropolitan Museum of Art, New York, USA.

Bodhisattva of Wisdom (Manjushri),, 1400s. Nepal, 15th century. Gilded copper; overall: 42.4 x 16.5 cm (16 11/16 x 6 1/2 in.).

Eleven-Headed Guanyin, early 700s. China, Tang dynasty (618-907). Gray sandstone; overall: 129.6 x 63.6 x 25.4 cm (51 x 25 1/16 x 10 in.).

Vishnu on Garuda, 12th-13th century, 7 1/8 x 3 1/8 x 1 7/16 in. (18.1 x 7.94 x 3.65 cm), Bronze, Cambodia, 12th-13th century, In Hinduism, Vishnu is the preserver and maintainer of the established order. Whereas Shiva is Lord of the Beginning and of the End, Vishnu is the deity who oversees the middle ground, avoids extremes, and maintains orthodoxy. The standard depiction of Vishnu is four-armed standing upright wearing a crown. He carries a conch shell, lotus, a club, and a discus. His vehicle is the bird Garuda depicted here in the usual form as part human, part bird.

Buddha , The Bodhisattva Maitreya, anonymous, anonymous, c. 800 - c. 1000 Gautama Buddha standing on Lotus pillow; Small Vlamensaurool around the head and a large around the body. Jammukasjmir brass (alloy) Gautama Buddha standing on Lotus pillow; Small Vlamensaurool around the head and a large around the body. Jammukasjmir brass (alloy)

Shiva Seated with Parvati ca. 10th century Nepal (Kathmandu Valley). Shiva Seated with Parvati 38561

Indra. God of War & Weather with a thunderbolt in his hand. 11th cent. India.

Bodhisattva Simhanada Lokeshvara 1001-1100 Bihar. Basalt .

(The Rishabha) thirtankara Rsabhanatha.11th - 12th century limestone sculpture. Orissa in India. According to Jain beliefs, Rishabha was the first Tirthankar of the present age (Avasarpini). Because of this, he had the name of Adinath the original lord. He became a Siddha, a liberated soul which has destroyed all of its karma

Vishnu Paricharak Purusha 11th century Kalchuri period Vaishnav cult, found at district Jabalpur, Madhya Pradesh, India Copyright: xHarixMahidhar/DinodiaxPhotox

Tara, the Buddhist Savioress ca. second half of the 8th century Bangladesh (probably Comilla District). Tara, the Buddhist Savioress 38941

Vishvarupa Vishnu

Shiva and Parvati with their Sons Karttikeya and Ganesha and the Calf Bull 9th century India (Jammu and Kashmir, ancient kingdom of Kashmir) A devotee used this charming rendering of the Shiva family assembled on a single pedestal for worship, likely in a private chapel. Shiva holds a rosary (aksamala) and flask; his wife, Parvati, a mirror. Both are crowned and jeweled as if Kashmiri monarchs. Shivas calf bull Vrsabha nuzzles close to his lord, and the couples two children flank the ensemble.. Shiva and Parvati with their Sons Karttikeya and Ganesha and the Calf Bull. India (Jammu and Kashmir, ancient kingdom of Kashmir). 9th century. Stone. Sculpture

The Hindu Goddess Parvati. India, Odisha (Orissa), 1050-1100. Sculpture. Magnesian schist

Statue of Lord Ganesh India Asia Copyright: xAnirudhaxCheoolkar/DinodiaxPhotox

Shiva as the Cosmic Pillar. India, Tamil Nadu, early 12th century. Sculpture. Granulite with traces of paint

Vajravarahi: Dancing Tantric Buddhist Female Deity, 1000s-1100s. Nepal. Miniature stone stele; overall: 9.6 x 5.3 cm (3 3/4 x 2 1/16 in.).

Puppet (Wayang Klitik) of BataraGuru

Standing Four-Armed Vishnu 8th century India (Jammu & Kashmir, ancient kingdom of Kashmir). Standing Four-Armed Vishnu 38257

Male deity (Lokesvara) Cambodia or current neighbours. Third quarter of the 12th century. Bronze, lost wax casting: Cambodia uncertain provenance.

Buddha and Worshippers 2nd-3rd century Pakistan (ancient region of Gandhara). Buddha and Worshippers 38796

Set of twenty-four Jina images with Chandraprabha in the centre. Dated 15th Century

Standing Prajnaparamita, the Goddess of Transcendent Wisdom ca. 11th century Thailand. Standing Prajnaparamita, the Goddess of Transcendent Wisdom 39098

Manasa, the Snake Goddess 11th century India (Bengal) or Bangladesh The goddess Manasa is seated in royal ease, displaying large circular ear-plug ornaments with engraved hamsa motifs, a torque, pearl necklace, and wears a patterned diaphanous waist cloth (dhoti); her armbands assume the form of an entwining snake. She is crowned with a three-pointed diadem and her hair, gathered in a bun, is offset to her left. Behind her head radiates the seven-headed canopy of the serpent naga, and in her lowered left hand she holds the body of a rearing snake. She gestures varadamudra with her right. Flanking Manasa at upper left is the engraved figure of a seated Hindu rishi, his hands raised in veneration, and upper right the figure of a male deity also seated in royal ease, most likely identified as Shiva by his piled-up hair (jatumukuta). Beneath the rishi appears four lines of an engraved inscription. Manasa, the Snake Goddess. India (Bengal) or Bangladesh. 11th century. Copper sheet, repoussé

Votive Tablet with Buddhist Triad. Culture: China. Dimensions: H. 5 3/4 in. (14.6 cm); W. 4 14 in. (10.8 cm). Date: 7th century. Museum: Metropolitan Museum of Art, New York, USA.

The kingdom of Champa (Campadesa or nagara Campa) Chăm Pa in Vietnamese, 城 Chiêm Thành in Hán Việt and Zhàn chéng in Chinese records) was an Indianized kingdom that controlled much of southern and central Vietnam from approximately the 7th century through to 1832. Champa reached its apogee in the 9th and 10th centuries. Then began a gradual decline under pressure from Đại Việt, the Vietnamese polity centered in the region of modern Hanoi. In 1471, Viet troops sacked the northern Cham capital of Vijaya, and in 1697 the southern principality of Panduranga became a vassal of the Vietnamese emperor. In 1832, the Vietnamese emperor Minh Mạng annexed the remaining Cham territories. Mỹ Sơn, a former religious center, and Hội An, one of Champa's main port cities, are now UNESCO World Heritage sites.

Shiva as Lord of Dance (Nataraja) ca. 11th century Indian (Tamil Nadu) As a symbol, Shiva Nataraja is a brilliant invention. It combines in a single image Shiva's roles as creator, preserver, and destroyer of the universe and conveys the Indian conception of the never-ending cycle of time. Although it appeared in sculpture as early as the fifth century, its present, world-famous form evolved under the rule of the Cholas. Shiva's dance is set within a flaming halo. The god holds in his upper right hand the damaru (hand drum that made the first sounds of creation). His upper left hand holds agni (the fire that will destroy the universe). With his lower right hand, he makes abhayamudra (the gesture that allays fear). The dwarflike figure being trampled by his right foot represents apasmara purusha (illusion, which leads mankind astray). Shiva's front left hand, pointing to his raised left foot, signifies refuge for the troubled soul. The energy of his dance makes his hair fly to the sides

Shiva Nataraja, anonymous, c. 1200 - c. 1300 Image of the dancing Shiva Nataraja in a flame hall. Southern India bronze (metal) Image of the dancing Shiva Nataraja in a flame hall. Southern India bronze (metal)

. According to Hindu mythology, the kingdom of heaven was once threatened by a mighty buffalo demon. None of the gods could defeat him. So they created the goddess Durga and endowed her with all their individual powers. This made Durga the only one capable of stopping the demon. In her eight arms she bears the weapons and symbols of the deities whose combined power she represents.

Goddess Lakshmi and god Vishnu in silver Copyright: xRajeshxSharma/DinodiaxPhotox

Figure of a Deva, Mandalay period, Myanmar Burma, Asia

Jina Parsvanatha Jina Parsvanatha, India, 12th century, carved stone, MuEC, Barcelona, Catalonia, Spain LicenseRF Copyright: xZoonar.com/BartomeuxBalaguerxRotgerx 23171500

Shiva as Lord of Dance (Nataraja). Culture: Indian (Tamil Nadu). Dimensions: H. 26 7/8 in. (68.3 cm); Diam. 22 1/4 in. (56.5 cm). Date: ca. 11th century.As a symbol, Shiva Nataraja is a brilliant invention. It combines in a single image Shiva's roles as creator, preserver, and destroyer of the universe and conveys the Indian conception of the never-ending cycle of time. Although it appeared in sculpture as early as the fifth century, its present, world-famous form evolved under the rule of the Cholas. Shiva's dance is set within a flaming halo. The god holds in his upper right hand the damaru (hand drum that made the first sounds of creation). His upper left hand holds agni (the fire that will destroy the universe). With his lower right hand, he makes abhayamudra (the gesture that allays fear). The dwarflike figure being trampled by his right foot represents apasmara purusha (illusion, which leads mankind astray). Shiva's front left hand, pointing to his raised left foot, signifies re

Acala. Culture: Tibet. Dimensions: H. 4 1/2 in. (11.4 cm); W. 3 15/16 in. (10 cm). Date: 12th century.Acala is an esoteric deity whose role is to remove obstacles to enlightenment. He is also named in tantric texts as the protector of the rites associated with Manjushri. The Kriya Tantra, associated with the invocation of Acala, was popularized by both Atisha (982-1054), the founder of the Kadampa school, and Lobpon Sonam Tsemo (1142-1182) of the Sakya school. Museum: Metropolitan Museum of Art, New York, USA.

The Bodhisattva Maitreya. Nepal, 11th century. Sculpture. Gilt copper and traces of paint

Manjushree in bronze late 7th Century AD associated with Indian Buddhist belief. From Bihar, India

Lion-Headed Incarnation of God Vishnu (Narasimha) 1401-1500 Orissa. Bronze with silver inlay and traces of pigment .

Shiva Embracing His Consort, Uma (Alinganamurti) late 11th century India (Tamil Nadu). Shiva Embracing His Consort, Uma (Alinganamurti). India (Tamil Nadu). late 11th century. Copper alloy. Chola period (880-1279). Sculpture

The Hindu Goddess Gauri. India, Uttaranchal, Almora District, 9th century. Sculpture. Chlorite schist

Figurine Whistle of a Maize God Seated on a Personified Mountain. Northern Guatemala or Southeastern Mexico, Maya, 600-900 CE. Ceramics. Ceramic

The Goddess Durga Slaying the Buffalo Demon (Mahisasura Mardini). Culture: India (Rajasthan). Dimensions: H. 9 in. (22.9 cm); W. 6 in. (15.2 cm); D. 3 in. (7.6 cm). Date: 10th century.The multi-armed Durga tramples the slain buffalo with her raised leg while plunging her trident into the human form of the demon Mahisha seen emerging from the neck of the beast. Her vehicle, the lion, joins in the fight, mauling the buffalo from behind. In this celebratory icon, designed to occupy an exterior niche in a Hindu temple, Durga is honored by garland-bearing celestial attendants (gandharvas). Museum: Metropolitan Museum of Art, New York, USA.

Somaskanda (Holy Family), 13th-14th century, 23 1/4 x 26 1/4 x 13 in. (59.06 x 66.68 x 33.02 cm), Bronze, India, 13th-14th century, Shiva and his wife Uma sit next to each other on double lotus pedestals, between them a residual remnant of their small child, Skanda, now missing from the magnificent bronze. The standard formatknown as Somaskandaarose as early as the 6th century in temples from Tamil Nadu, and remains Shiva’s main manifest form today. In south Indian temples, bronze images play a huge role in devotional practice, where they are treated as living embodiments of the gods. The holes in the base indicate that this particular bronze would have been carried in processions outside the temple grounds. Priests dressed the gods in fine clothing, adorned them with flowers, and assembled an entourage of musicians and dancers to accompany them on a procession to bless the devotees who congregated along city streets.

White chakrasamwara (Sita Chakrasamvara); XVIII-XIX century (1790-00-00-1810-00-00);

Queen Maya Devi giving birth to Prince Siddhartha, the future Buddha Cakyamuni. 19th century brass, copper sculpture from Nepal

Golden Buddha Golden Buddha statue from Swayambhunath Stupa or Monkey Temple in Kathmandu Valley, Nepal Copyright: xZoonar.com/NatalliaxYaumenenkax 4440194

Stele with Shakyamuni and Maitreya, c. 570s. China, Northern Qi dynasty (550-577). Marble with polychromy; overall: 119 cm (46 7/8 in.).

Relief Plaque of Hindu Deity, Probably Processional: Face of a Deity probably 14th-16th century Nepal (Kathmandu Valley) These "masks" were likely intended for use in the creation of lifelike effigies of the gods, the metal face to be affixed to a carrying frame and the figures dressed in textiles. Such constructions were intended for processional use, as seen in related practices in the Hindu communities of Himachal Pradesh, in the western hills of north India, where image-palanquins of this type are carried by devotees during festivals.. Relief Plaque of Hindu Deity, Probably Processional: Face of a Deity. Nepal (Kathmandu Valley). probably 14th-16th century. Repoussé copper alloy. Metalwork

Buddhist temple decoration in the form of a bird. The bird is a Hinta (mythological duck). Tin overlaid in gold leaf. Thailand early 20th century.

Meditating Buddha with Alms Bowl Enthroned in a Foliated Niche ca. late 10th-early 11th century India (Bihar) This meditating Buddha with an alms bowl is likely the Amitabha Buddha in the form of one of the medicine Buddhas, such as Bhaisajyaguru. A horned monster face (kirtimukha) with a string of pearls issuing from his jaws provides a protective presence over the meditating Buddha, who is framed by a pearl-bordered nimbus. Foliage and two lotus flowers fill the arch. This architectural relief is a false window antefix from a Pala-period Buddhist monument.. Meditating Buddha with Alms Bowl Enthroned in a Foliated Niche 39489

Four-Armed Ganesha Dancing 16th-17th century Nepal (Kathmandu Valley) This plaque depicts the popular Hindu god Ganesha. Ganesha is popularly thought of as the son of Shiva and Parvati and is worshipped for his ability to remove obstacles. He is also the guardian of doorways and the lord of beginnings and his name is invoked before any new undertaking is commenced. Although there are a number of stories describing how he received his elephant head, the most common recounts that Parvati, while Shiva was away, created Ganesha from the dry skin she sloughed off in a bath. She sent him to guard the door to her bath. When Shiva returned home he did not realize that it was his wife's son guarding the door. Denied entry to her chamber, he lopped off Ganesha's head when the two came to blows. When he discovered the truth, Shiva ordered that the head of the first sentient being that came into view be given to Ganesha. Thus, he received the head of an elephant. Ganesha was just a child at the ti

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