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Lot Essay
Compare with another sculpture of Avalokiteshvara, which displays nearly identical modeling and exquisitely rendered detail. Notice the striking similarity of the proportions, the sensitively modeled feet and hands, the fine silver and gold inlay in the garments and belts, and the treatment of the jeweled tiara which lays flat against the elaborately braided chignon. Even the manner in which the lotus blossoms curl towards the face and the precise modeling of the gently protruding lotus petals, is nearly identical. (see: Y. Jia, et al., Precious Deposits: Historical Relics of Tibet, China, 2000, p.23, fig.23). Based on these similarities, it is highly plausible that these two works come from the same set.
For further comparison, see two earlier works; the first, a 12th century seated Vajrapani from Southern Tibet (P. Pal, Tibet: Tradition and Change, 1997, p.101, pl.50). The second, a bodhisattva at the Newark Museum of Art (V. Reynolds, From the Sacred Realm: Treasures of Tibetan Art from the Newark Museum, 1999, p.224, pl.128).
All four works demonstrate the use of an alloy with a high copper content, which produces a rich reddish patina, as well as exquisite silver and gold inlay in the garments and jewelry. While the dating differs, one can see the Pala aesthetic in each of the four sculpture. Most notably, the beautifully modeled double-lotus base and the lithe elegant quality of the figures, whose hands and feet have been rendered with particular sensitivity. The piled, coiled locks of hair are also unmistakably Pala in style, demonstrating the reverence of later artists for this early sculptural tradition.
For further comparison, see two earlier works; the first, a 12th century seated Vajrapani from Southern Tibet (P. Pal, Tibet: Tradition and Change, 1997, p.101, pl.50). The second, a bodhisattva at the Newark Museum of Art (V. Reynolds, From the Sacred Realm: Treasures of Tibetan Art from the Newark Museum, 1999, p.224, pl.128).
All four works demonstrate the use of an alloy with a high copper content, which produces a rich reddish patina, as well as exquisite silver and gold inlay in the garments and jewelry. While the dating differs, one can see the Pala aesthetic in each of the four sculpture. Most notably, the beautifully modeled double-lotus base and the lithe elegant quality of the figures, whose hands and feet have been rendered with particular sensitivity. The piled, coiled locks of hair are also unmistakably Pala in style, demonstrating the reverence of later artists for this early sculptural tradition.