Buddhist Iconography

Artistic representations of seated Buddhist figures and deities, showcasing intricate details, contemplative postures, and traditional craftsmanship in diverse materials.

The Buddddddda is write, anonymous, c. 1500 - c. 1600 Dainichi Nyorai, sitting in meditation position on a throne. Japan wood (plant material) Dainichi Nyorai, sitting in meditation position on a throne. Japan wood (plant material)

Figurine a Buddha sitting on a lotus throne unknown

. Sculpture of a seated padmapani (Avalokitesvara).

. 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.

Karttikeya, the God of War. Culture: India (Jammu and Kashmir, ancient kingdom of Kashmir). Dimensions: H. 10 1/2 × W. 6 1/4 × D. 3 in. (26.7 × 15.9 × 7.6 cm). Date: 8th century.Here, the god of war sits regally on his vehicle, a peacock, as if enthroned. He displays the rosary (aksamala) favored by his father, Shiva, and, instead of his usual javelin, holds a disk standard seemingly with solar symbolism. This iconography is unprecedented. Museum: Metropolitan Museum of Art, New York, USA.

Seated bodhisattva (left attendant of a triad). Culture: Korea. Dimensions: H. 20 1/4 In. (51.4 cm); W. 14 1/4 in. (51.4 cm); D. 12 3/4 in. (36.2 cm)H. to flame elements: 21 1/2 in. (54.6 cm). Date: ca. mid- 17th century.This elegant figure represents a bodhisattva--a compassionate, enlightened being who has chosen to remain on earth to help mortals attain enlightenment. This statue was originally one of two attendant bodhisattvas that flanked a Shakyamuni or Amitabha Buddha. The tall, ornate crown, oblong face, and drapery with cascading folds indicate that the statue was likely produced by an esteemed school of Buddhist monksculptors led by Ingyun (active 1615-63) for a temple in the South Jeolla Province, an important Buddhist power base at the time. Museum: Metropolitan Museum of Art, New York, USA.

. This Buddha is holding his hands on his lap in the meditation position. Amida Nyorai rules over the highest of the nine levels of the Western Paradise. Rebirth in this paradise is the highest attainment for a living being. The figures eyes are inlaid with crystal to enliven its appearance and to increase its power to ‘speak to the faithful.

The Buddddddda is write, anonymous, c. 1500 - c. 1600 Dainichi Nyorai, sitting in meditation position on a throne. Japan wood (plant material) Dainichi Nyorai, sitting in meditation position on a throne. Japan wood (plant material)

Buddha Enthroned on a Serpent (Naga) 1201-1225 Cambodia. Bronze .

Manjushri, Bodhisattva of Wisdom, with five knots of hair (Wuji wenshu) mid-11th century China The five knots of hair represent the five syllables of a Sanskrit invocation, a-ra-paca- na, used in devotions to the bodhisattva of wisdom. Each syllable has a different meaning and can help a devotee gain such benefits as protection from illness.. Manjushri, Bodhisattva of Wisdom, with five knots of hair (Wuji wenshu). China. mid-11th century. Gilt bronze; lost-wax cast. Liao dynasty (907-1125). Sculpture

Four-armed bodhisattva Avalokiteshvara (Chaturbhuja). unknown, sculptor

The Primordial Buddha Vajradhara 15th century Tibet The Buddha Vajradhara is a divine manifestation of the totality of Buddhist teachings and is credited with being the source of the Buddhist tantric texts. Here, he holds a vajra and a bell that symbolizes energy (male) and emptiness (female). This sculpture is remarkable for the many surviving original inset pieces of turquoise and semiprecious stones and for the silver wire inlay in his dhoti (loincloth). These components indicate his divine status and evoke the crystalline nature of the heaven where he resides.. The Primordial Buddha Vajradhara. Tibet. 15th century. Gilt copper alloy with inlaid silver filaments, turquoise, and semiprecious stones. Sculpture

Manjushri, Bodhisattva of Wisdom, with Five Knots of Hair (Wuji Wenshu). Culture: China. Dimensions: H. 6 1/4 in. (15.9 cm); W. 4 1/4 in. (10.8 cm); D. 2 3/4 in. (7 cm). Date: mid-11th century.The five knots of hair represent the five syllables of a Sanskrit invocation, a-ra-paca- na, used in devotions to the bodhisattva of wisdom. Each syllable has a different meaning and can help a devotee gain such benefits as protection from illness. Museum: Metropolitan Museum of Art, New York, USA.

Bodhisattva Avalokiteshvara (Guanyin) dated 1282 China 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 pieces consecration. The interior surface of the panel bears a date (1282) and a small bronze mirror (34.15.2) 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. Listen to experts illuminate this artwork's story Listen Play or pause #7463. Bodhisattva Avalokiteshvara (Guanyin) Play or pause #7456. Bodhisattva Avalokiteshvara (Guanyin) Supported by Bloomberg Philanthropies We're sorry, the transcript for this audio track is not available at thi

Avalokiteshvara. Culture: Tibet. Dimensions: H. 21 1/4 in. (54 cm); H. (incl. base) 22 1/2 in. (57.2 cm); W. 8 in. (20.3 cm); D. 4 in. (10.2 cm). Date: 13th century.This Buddhist savior, Padmapani the 'Lotus-bearer', belongs to a tradition of majestic metal icons produced in western and central Tibet in workshops under a cross-current of influences. The original lineage to which this work belongs would appear to be a series of spectacular bodhisattva icons produced in western Tibet in the 1000s, under the patronage of the Guge kingdom, overlaid with Indian influences from both Kashmir and the Pala regions of eastern Indian. Many such examples are preserved in Tibet today, most notably in the Potala in Lhasa, where they undoubtedly served as inspiration for artists working in Tibet. The hybridity of style suggests a production workshop in Central Tibet, though the mobility of both models and of artists means that such regional attributions remain at best tentative. Museum: Metropolitan

Golden statue of seated Buddha

Buddha, Anonymous, 800 - 1000 Buddha sat on Lotus pillow in Wajrasana, executed in black-gray limestone. On a pedestal. Northeast India limestone. sokkel: wood (plant material) Buddha sat on Lotus pillow in Wajrasana, executed in black-gray limestone. On a pedestal. Northeast India limestone. sokkel: wood (plant material)

Buddhas Akjamuni; 19th century () (1801-00-00-1900-00-00);Buddha, Krakow, so -called REPWINDING ACTION - collection, Méyet, Leopold (1850-1912) - collection, gift (provenance), figurines, lotus throne, sculptures, Buddhist and Indian art

Seated Buddha 8th-early 9th century Burma The Pyu kingdom flourished in central and northern Burma from the early years B.C. to about 832, when Halin, the capital, was sacked by forces of the southern Chinese Nanchao kingdom. The sculpture displays a fluidity of modeling, with an emphasis on soft, flowing volumes rather than a linear development of form, that is seen in early Southeast Asian sculpture. This seated Buddha originally held both of his hands in the teaching gesture (vitarkamudra). The pose is associated with Mon-Dvaravati-period sculpture and is not found in India.. Seated Buddha 73150

Tara 12th century India, Bihar This female bodhisattva holds her hands in dharmachakramudra (gesture of exposition). The stem of a flower would have supported her identifying attribute, now lost. She is likely Prajnaparamita, the wisdom goddess, whose identifier is a manuscript.. Tara 38934

Green Tara, Seated in Pose of Royal Ease (Lalitasana), with Lotus Stalks on Right Shoulder and Hands in Gestures of Reasoning (Vitarkamudra) and Gift Conferring (Varadamudra) 1403-1424 China. Chinaís pantheon of Buddhist deities, with their accompanying rituals and artistic styles, burgeoned following its conquest by the Mongols and its absorption into the pan-Asian, multiethnic Yuan empire (1279 1368). From then on, many Chinese rulers and members of elite society, of both native and foreign heritage, became fervent devotees of Tibetan Buddhism. This faith is also known as Vajrayana (Diamond Path) Buddhism or, for its esoteric teachings derived largely from Hinduism, Tantric Buddhism. Buddhist images made in China but influenced by Tibetan (as well as Nepalese) iconography and style are termed Sino-Tibetan.This image depicts one of many emanations of the compassionate god Tara. An inscription on the top surface of its throne reads ìDa Ming Yongle nian zhiî (Bestowed in the Yongle reig

Guanyin Lwiego Ryku (Simhanada Awalokite War); 19th century (1801-00-00-1900-00-00);

. Unlike the large stone sculptures for Hindu and Buddhist temples, small figurines for domestic use were made of metal. The Buddhist goddess Chunda is a female embodiment of eternal wisdom. The Hindu god Brahma, creator of the world, can be identified from his four faces, which allow him to oversee the four cardinal directions (east, south, west and north).

Vishnu dated August 12, 1105 Nepal (Kathmandu Valley) This heroic representation of Vishnu wearing an elaborate crown stands on a plinth depicting the donor and his family flanking an auspicious vase of plenty (purnaghata). The dedicatory inscription identifies the donor as a minister of state, names the king he served, Simhadeva, and gives the place and date of dedication. The date coincides with Vishnus awakening after his annual four-month slumber, marking the end of the monsoon— an auspicious day to make a religious donation.. Vishnu. Nepal (Kathmandu Valley). dated August 12, 1105. Copper alloy with gilding. Thakuri period. Sculpture

Vishnu. Culture: Nepal (Kathmandu Valley). Dimensions: H. 16 7/8 in. (42.9 cm); W. 7 1/8 in. (18.1 cm); D. 3 1/2 in. (8.9 cm). Date: dated August 12, 1105.This heroic representation of Vishnu wearing an elaborate crown stands on a plinth depicting the donor and his family flanking an auspicious vase of plenty (purnaghata). The dedicatory inscription identifies the donor as a minister of state, names the king he served, Simhadeva, and gives the place and date of dedication. The date coincides with Vishnu's awakening after his annual four-month slumber, marking the end of the monsoon-- an auspicious day to make a religious donation. Museum: Metropolitan Museum of Art, New York, USA.

Standing Crowned and Jeweled Buddha 12th-13th century Burma. Standing Crowned and Jeweled Buddha 38528

Seated Buddha ca. 9th century Sri Lanka. Seated Buddha 39171

Bodhisattva Holding a FlamingJewel

Buddha Shakyamuni or the Jina Buddha Akshobhya. Bangladesh, Chittagong District, 9th century. Sculpture. Copper alloy

Avalokiteshvara, 14th century. Nepal, 14th century. Gilt bronze; overall: 9.5 x 7 x 4.8 cm (3 3/4 x 2 3/4 x 1 7/8 in.).

Buddha Shakyamuni. Sri Lanka, Divided Kingdoms period, 14th-15th century. Sculpture. Copper alloy

Monk Devotee. Thailand, Bangkok period, 19th century. Sculpture. Gilt copper alloy

Avalokiteshvara in a Multiarmed Tantric Form 11th-12th century China, Yunnan Province This esoteric form of Avalokiteshvara holds a range of attributes in his twenty-four hands, including the sun, the moon, a vajra, and a bell. Multiarmed, powerful tantric forms of Avalokiteshvara were introduced into East Asia by the monk Amoghavajra as part of an eighth-century effort to repel Tibets military expansion across Central Asia. Later, this protective form of Avalokiteshvara, who is able to aid his numerous devotees with his many arms, became especially popular in Tibet after the north Indian monk Atisha (980-1054) emphasized this tantric deity.. Avalokiteshvara in a Multiarmed Tantric Form. China, Yunnan Province. 11th-12th century. Gilt arsenical bronze. Dali kingdom (938-1253). Sculpture

'Crowned Buddha Maravijaya'. Siam (now Thailand). Art of Isan ( ), 18th - 19th century. Dimensions: h. 12 cm. Museum: State Hermitage, St. Petersburg.

Wooden Seated Buddha. Korea, Korean, 18th century. Sculpture. Carved wood with lacquer and gilding, ink on paper, fabric, metal, paper, woodblock print

Vishnu first half of the 9th century South India (Tamil Nadu) The Pallavas, centered at their imperial capital of Kanchipuram, were the most powerful clan to rule southern India from the third century until their defeat by the Cholas in 897. This image of Vishnu displaying the symbols of his authority as a divine monarch likely belongs to their last phase of stability, during the reigns of the kings Dantivarman and Nandivarman. Notably, icons of this scale mark the beginnings of the tradition of processional icons in south Indian worship.. Vishnu 654871

Buddhist Deity Vajrasattva with Bell (Ghanta) and Thunderbolt (Vajra) 1701-1800 Tibet. Brass with coral and turquoise .

'Buddha Maravijaya (Buddha Calling the Earth to Witness). Votive sculpture'. Siam (now Thailand). Bangkok art, 19th century. Dimensions: h. 4,5 cm. Museum: State Hermitage, St. Petersburg.

Amoghasiddhi, 13th-14th century, 16 5/8 x 12 7/16 x 5 1/2in. (42.2 x 31.6 x 14cm), Brass with pigment, gilding, and silver inlay, Western Tibet or Central Regions, Tibet, 13th-14th century, A devotee might pray to Amoghasiddhi to overcome envy and greed, attempting to transform these emotions into the wisdom of accomplishment. One of the Five Cosmic Buddhas of the cardinal directions (north, south, east, and west), Amoghasiddhi presides over the celestial realm of the north. He is associated with the color green (his partner is Green Tara) and with the elements of wind and air. As if receiving a breeze, Amoghasiddhis sash billows while his right hand gracefully gestures 'have no fear.'

Old Buddha sculpture made of ivory, from China

Potala Guanyin, 900s. China, Five dynasties (907-960). Carved wood with traces of paint; overall: 15.1 x 9.9 cm (5 15/16 x 3 7/8 in.).

Buddha of the Future (Miroku Bosatsu), late 600s. Japan, Asuka period (538-710). Cast bronze, incised, with traces of gilding; figure: 39.4 cm (15 1/2 in.). Buddhism was introduced to Japan in the sixth century. For early Japanese devotees, Buddhism offered the promise of salvation through faith in the Buddha of the Future, who would appear at the end of the world. The concept of eternal salvation held particular resonance with the Japanese aristocracy, who became the staunchest supporters of this new faith. Small sculptures like this one, with its gentle grace and powerful presence, were popular devotional objects.

Shadakshari Lokeshvara 12th century India (Bihar) Shadakshari Lokeshvara is a four-armed variant of the Bodhisattva Avalokiteshvara, who holds his inner hands to his chest in anjalimudra, the gesture of adoration.. Shadakshari Lokeshvara. India (Bihar). 12th century. Bronze with silver and copper inlay. Pala period. Sculpture

The Sage Agastya Seated in Meditation on his Water Pot (Kumbha) 1401-1500 Nepal. Gilt bronze .

D Ambhal; after. 19th century () (1846-00-00-1855-00-00);Himalayan (culture), Art of Tibetan Buddhism, Himalayan art, purchase (provenance)

Krishna playing the flute; XVII century (1601-00-00-1700-00-00);

'Rishi Ascetic'. Siam (now Thailand). Bangkok art, Second half of the 19th century (). Dimensions: h. 18 cm. Museum: State Hermitage, St. Petersburg.

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 Saint Chandikeshvara. India, Tamil Nadu, circa 17th century. Sculpture. Copper alloy

The Bodhisattva Avalokiteshvara in the Form of Padmapani, the Lotus Bearer 12th century Tibet This Padmapani descends from a series of eleventh-century bodhisattva icons produced under the patronage of the Guge kingdom. It belongs to a larger tradition of metal bodhisattva icons made in western and central Tibetan workshops under both Kashmiri and Indian Pala dynasty influences. The inlaid silver for the eyes and copper for the lips, and the jewelry details, reflect Tibetan responses to Pala models. A softness to the anatomy points to its twelfth-century date, as do the crown, ear ornaments, and engraved textile designs on the waist cloth.. The Bodhisattva Avalokiteshvara in the Form of Padmapani, the Lotus Bearer 700507

Bodhisattva Avalokiteshvara. Culture: Pakistan (Swat Valley). Dimensions: H. 6 3/4 in. (17.1 cm); W. 4 3/4 in. (12.1 cm); D. 3 1/2 in. (8.9 cm). Date: 7th century.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 Avalokitesvara 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. Museum: Metropolitan Museum of Art, New York, USA.

Seated figure, India, about 800-1900 AD. The bronze figure represents Padmasambhava, the Buddhist master credited with establishing Buddhism in Tibet.

Standing Vishnu 9th century India (Tamil Nadu). Standing Vishnu. India (Tamil Nadu). 9th century. Copper alloy. Pallava or early Chola period (880-1279). Metalwork

Seated Devi 9th century Indonesia (Java). Seated Devi. Indonesia (Java). 9th century. Bronze. Sculpture

Buddha Seated in Meditation (Dhyanamudra) 1701-1800 Sri Lanka. Bronze .

Bodhisattva, probably Avalokiteshvara (Guanyin). Culture: China. Dimensions: H. 73 in. (185.4 cm). Date: late 6th century. Museum: Metropolitan Museum of Art, New York, USA.

Saint. India, Tamil Nadu, 15th century. Sculpture. Copper

Standing Buddha. Culture: Korea. Dimensions: H. 5 1/2 in. (14 cm). Date: 8th century.The gilt-bronze statue is a typical small icon made for private devotion in the Unified Silla kingdom and exemplifies a high point in the production of Buddhist sculpture in Korea. The Buddha's hand gesture (mudra) symbolizes the dispelling of fear and the granting of wishes. Museum: Metropolitan Museum of Art, New York, USA.

Buddha Triumphing over Mara (Maravijaya). Tibet. Date: 1501-1600. Dimensions: 9.8 x 7.4 x 5.5 cm (3 7/8 x 2 7/8 x 2 1/8 in.). Gilt bronze. Origin: Tibet. Museum: The Chicago Art Institute, Chicago, USA.

Buddha Shakyamuni. Sri Lanka, Anuradhapura Period, 7th-8th century. Sculpture. Brass ()

Buddha Shakyamuni Seated in Meditation (Dhyanamudra). India; Tamil Nadu, Nagapattinam. Date: 1101-1200. Dimensions: 160.0 × 120.2 × 56.3 cm (63 × 47 5/16 × 22 3/16 in.). Granite. Origin: Nagappattinam. Museum: The Chicago Art Institute, Chicago, USA.

Crowned Buddha. Culture: India (Bihar). Dimensions: H. 12 5/8 in. (32.1 cm); W. 7 1/8 in. (18.1 cm); D. 5 1/4 in. (13.3 cm); Wt. 7 lbs (7 lbs (3.2 kg). Date: 10th-11th century.The Buddha touches the earth at the moment of enlightenment. His crown, necklace, eyes, and urna (forehead dot) are inlaid with silver; the flaming mandorla and the stepped throne were inlaid with lapis lazuli and rock crystal (surviving vestiges of these materials can be seen on the base). Museum: Metropolitan Museum of Art, New York, USA.

Buddha Shakyamuni. Burma (Myanmar), 18th century or later. Sculpture. Wood with lacquer

Goddess of Dance (Nrtyadevi) 16th century Nepal, Kathmandu Valley Polychromed wood sculpture from at least the tenth century survives in Nepal, in the form of both independent sculptures and architectural elements. This dancer, likely one of a pair, is a form of a Buddhist savior, a counterpart to such popular bodhisattvas as Avalokiteshvara in the form of Cintamani Lokeshvara, the wish-fulfilling jewel bearer. This goddess gestures with her lower hand, evoking her boon-granting power.. Goddess of Dance (Nrtyadevi) 697340

Mahakala Panjaranatha (Protector of the Tent). Culture: Tibet. Dimensions: H. 7 in. (17.8 cm); W. 4 1/2 in. (11.4 cm); D. 1 1/2 in. (3.8 cm). Date: late 14th-early 15th century.Mahakala is the principal destroyer of the bonds that tie us to spiritual ignorance. Here he plunges his flaying knife into the skull cup that simmers with a flaming sea of sense organs, and in the crook of his arms he holds a baton for summoning monks to assembly. Museum: Metropolitan Museum of Art, New York, USA.

Goddess White Tara with Kneeling Donor at Base 1101-1200 Central Tibet. Phyllite .

Majestätische inthronisierte tibetisch-buddhistische Skulptur des Amitayus Majestätische inthronisierte tibetisch-buddhistische Skulptur des Amitayus Copyright: xZoonar.com/GallóxGusztávx 22873610

Shiva as Mahesha. Culture: India (Tamil Nadu). Dimensions: H. 58 in. (147.3 cm); W. 32 in. (81.3 cm); D. 16 in. (40.6 cm). Date: 10th century.This statue is part of a group of unusual large stone carvings in the round from the Chola period. They all portray the same deity, long identified as Brahma but now thought to be Mahesha, a form of Shiva. Shiva's worshipers believe that he manifests himself in three stages, which move from the abstract to the concrete--symbolized by the undecorated linga (shaft); the linga with one or more faces emerging from it; and, finally, Mahesha. From him are born the other two great Hindu gods, Brahma and Vishnu. Mahesha is shown here with four faces: on the right is Brahma; in the center, Shiva; on the left, Vishnu; and on the back, Rudra (possibly the predecessor of Shiva). The attributes associated with Brahma, Shiva, and Vishnu are on their respective sides. Museum: Metropolitan Museum of Art, New York, USA.

Guanyin; 18th century (1701-00-00-1800-00-00);

Green Tara, 14th-15th century, 18 13/16 x 11 1/2 x 10 3/4in. (47.8 x 29.2 x 27.3cm), Bronze with turquoise and gold, Tibet, 14th-15th century, Green Tara is one of the most revered female bodhisattvas, a being who postpones enlightenment to assist others on earth. She is the companion of the Cosmic Buddha Amoghasiddhi and equally transmits his gifts to the worshiper. Remarkable for its size and age, this statue is made from pieces of sheet coppersome now missingthat were hammered, formed, and fastened with rivets. The deity’s right hand, opened in the gift- bestowing gesture, would have rested on her right knee. Her left hand once held the stem of a lotus, which blossomed at her shoulder. An embodiment of infinite compassion and worshipped by those seeking to overcome obstacles, Tara is often depicted at the height of her beauty, inspiring a hymn recorded by the First Dalai Lama (1391-1474)

Guanyin, anonymous, 850 - 900 Avalokitesvara (Guanyin), standing on a pedestal; With the left hand he makes the gesture of reassurance and in the judge he has a vase. China wood (plant material). gesso. dye Avalokitesvara (Guanyin), standing on a pedestal; With the left hand he makes the gesture of reassurance and in the judge he has a vase. China wood (plant material). gesso. dye

Seated Female Deity Holding a Conch and Branch () last quarter of the 10th-first half of the 11th century Indonesia (Java, Ngandjuk) Small sculptures such as these (1987.142.5, .7-.9) are now identified as images from a larger set that were used to create a three-dimensional mandala. Two complete mandalas of this type have been discovered in Indonesia, one in the village of Chandi Reja in 1913 and another more recently at Surucolo. Both groups are thought to represent a Diamond World or Vajradhatu Mandala, thereby linking these images to the traditions of East Asia in which mandalas of this type are also preserved.Their small size indicates that these figures would once have been used to define the outer regions of a three-dimensional mandala. These Indonesia sculptures, bodhisattvas that function as attendant or retinue deities, have been linked to a commentary written in the reign of the Pala ruler Mahipala, sometime during the last quarter of the tenth and the first half of the ele

Za Gongen 11th century Japan Za Gongen is a rare example of a purely Japanese deity in the Buddhist pantheon. Many of the religious practices associated with Za took place in remote temples deep in the mountains. Through these rites, mountain ascetics (yamabushi), who were practitioners of Shugend, attempted to appropriate for themselves the sheer physical power of the deities. This powerful icon in a demon-quelling aspect was made for the Kshji Temple in Kyoto. Listen to experts illuminate this artwork's story Listen Play or pause #8815. Za Gongen 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 possible.. Za Gongen. Japan. 11th century. Gilt bronze with incised decoration. Heian period (794-1185). Sculpture

Figurine of Hayagriva. unknown, sculptor

Seated Crowned and Jeweled Buddha late 10th century India Although similar in style to the famous hoard of Pala bronzes found at Kurkihar (in the state of Bihar), this sculpture was found in northeastern Thailand. That it had arrived there by the first half of the twelfth century can be determined by its halo, which is a Thai replacement that may date from as early as the eleventh century. Images of crowned and jeweled Buddhas became popular in both Thailand and Cambodia during the twelfth and thirteenth centuries. They were probably based on Pala sculptures like this one.. Seated Crowned and Jeweled Buddha. India. late 10th century. Bronze with silver inlay. Pala period. Sculpture

Buddha; 19th century (1801-00-00-1900-00-00);

Guanyin (Avalokiteshvara). China. Date: 1350-1400. Dimensions: 35.6 × 15.7 × 8.1 cm (14 × 6 1/8 × 3 3/16 in.). Gilt copper alloy. Origin: China. Museum: The Chicago Art Institute, USA.

Preaching Buddha 8th century India (Jammu & Kashmir, ancient kingdom of Kashmir) or Pakistan This Buddha, with his legs folded in a full yogic posture and his hands gesturing preaching, invokes the first sermon at Sarnath. The complex treatment of the monastic robes, most notably their pleated ends, is evidence of an unidentified monastic workshop, probably located in Kashmir or the Swat Valley. The treatment of the hair curls is unconventional, as is the extreme stylization of the eyes and eyebrow. Silver inlay marks the eyes and auspicious forehead mark (urna).. Preaching Buddha. India (Jammu & Kashmir, ancient kingdom of Kashmir) or Pakistan. 8th century. Bronze with silver inlay. Sculpture

Standing Goddess 6th-7th century India (Andhra Pradesh) This unique sculpture has affinities with sixth-and-seventh-century Andhran stone sculpture as well as with some early Pallava works from Tamil Nadu.. Standing Goddess 72605

Fragment Depicting a Tathagata 1101-1200 Western Tibet. Wood .

Untitled (Monkey God holding two acolytes with foots on demon man figure), Ivory, India

Standing Avalokiteshvara, the Bodhisattva of Infinite Compassion late 8th-early 9th century Indonesia (Sumatra). Standing Avalokiteshvara, the Bodhisattva of Infinite Compassion 39119

Seated Deity, possibly a City God

Vishnu auf einer Lotusblume Vishnu on a Lotus Flower, India, 11th century, carved stone, MuEC, Barcelona, Catalonia, Spain LicenseRF Copyright: xZoonar.com/BartomeuxBalaguerxRotgerx 23171186

Enthroned Jina Attended by a Yaksha, a Yakshi, and Chauri-Bearers 9th-10th century India (Karnataka) 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 attendantsthe nature-deity yaksha and yakshi replacing the bodhisattvasand 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.. Enthroned Jina Attended by a Yaksha, a Yakshi, and Chauri-Bearers 39226

Crowned Buddha 9th century India, Ancient kingdom of Kashmir The Buddha is usually depicted in a monks simple garments; however, when he wears rich jewelry and a crown, he evokes the special form of Buddha as a cakravartin, or universal monarch. In Kashmir this form also recalls the splendor of the Buddha in heaven, where he reveals himself to the bodhisattvas. Both the high tripartite diadem and tasseled cape reflect Central Asian influence on Kashmiri Buddhist art of this period.. Crowned Buddha 39345

Tha Bodhisattva Kannon. Anonymous. Japan, 12th century. Sculpture. Carved wood

Seated Buddha 7th-8th century Burma Although this sculpture was acquired by a previous owner in eastern Java, it may have been made in the small western Burmese kingdom of Arakan, whose early sculptures show close affinities with those of eastern India.. Seated Buddha. Burma. 7th-8th century. Bronze. Arakan period. Sculpture

The Bodhisattva Manjushri. India, Bihar, 12th century. Sculpture. Gilt copper alloy

Standing Buddha. Culture: Korea. Dimensions: H. 9 3/8 in. (23.8 cm); W. 2 1/2 in. (6.4 cm); D. 1 1/8 in. (2.9 cm). Date: 9th century. Museum: Metropolitan Museum of Art, New York, USA.

Figurine Amida Buddha sitting on a lotus flower unknown

Eleven-Headed Bodhisattva Avalokiteshvara 1601-1800 Eastern Tibet. Bronze with gold, pigments, and semiprecious stones .

Buddha Maitreya (Mile) Altarpiece dated 524 (5th year of Zhengguang reign) China This complex assembly depicts the Buddha of the Future, Maitreya, who descends to earth to enlighten and save devout believers. He stands in front of an openwork back panel encircled by flames and flying celestial musicians, gesturing to reassure worshipers and promising to grant their wishes. Two attendant bodhisattvas stand at his side, with another pair at his feet. Next to them are four patronstwo on each sidedressed in secular clothes and holding bowls of offerings. Thunderbolt bearers are placed as guardians at opposite front corners of the altarpiece. Below the main platform are two seated lionsprotectors of the dharma, or the universal truth of Buddhism. An incised text on the base records the name of the person and date upon which he commissioned this sculpture to invoke the Buddha’s blessing for his deceased son and relatives. Listen to experts illuminate this artwork's story Listen Play or pa

Padmasambhava and his Wives. 17th c.-18th c. Brass. Tibetan art. Sculpture. FRANCE. ëLE-DE-FRANCE. Paris. Guimet Museum. Proc: CHINA. TIBET.

bodhisattva, China, 17th century, Anthropology National Museum, Madrid, Spain.

Cast iron head of Buddha, China, Yuan or Ming Dynasty, (circa 1300-1400). This sculpture demonstrates the height of Chinese cast iron technology. This refined hair, smoothly modelled face and contemplative eyes convey the Buddhist ideal of being compassionate, yet detached from earthly issues.

Guanyin; XVI/XVII century (1591-00-00-1610-00-00);

Indra, also known as Sakra in the Vedas, is the leader of the Devas and the lord of Svargaloka or heaven in Hinduism. He is the deva of rain and thunderstorms. He wields a lightning thunderbolt known as vajra and rides on a white elephant known as Airavata. Indra is the most important deity worshiped by the Rigvedic tribes and is the son of Dyaus and the goddess Savasi. His home is situated on Mount Meru.

Vajrakumara/Vajrakila (Tibetan: Dorje Phurpa). Tibet, circa 13th-14th century. Sculpture. Brass with traces of paint

Bodhisattva 14th century China. Bodhisattva 42481

Seated Buddha ca. 8th-9th century Cambodia. Seated Buddha 39233

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