Avalokiteshvara copper alloy inlaid with silver and copper Western Tibet

The bodhisattva standing in an elegant posture with right hand raised in abhaya mudra showing reassurance and protection, the lowered left hand holding the stem of the lotus blossoming at his shoulder, wearing simple jewelry including a crown with an image of the bodhisattva's parent Buddha Amitabha, with a long garland and an antelope skin worn over the shoulders, a dhoti tied at the waist with a flowing sash, a ratnopavita strung over his naked upper torso, the bodhisattva's eyes and urna inlaid in silver and the lips in copper.

The front prong of the crown is broken just above the tiny figure of Amitabha, the two side prongs are bent inwards. The original separately cast pedestal and aureole are now missing, the attachment loop at the back is loose. The long garland has a clean break at the bottom right. The polished surface has some scratches and a few dents and old repaired casting flaws on the back and right arm. Traces of pigments and gilding around the face and crown remaining. A modern screw attaches the piece through the circular platform onto the wooden mount. Very good condition overall. No restoration.
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The fine and rare sculpture of Avalokiteshvara as Padmapani, the Lotus Bearer, is cast in a particularly lustrous alloy, with the white of the eyes highlighted in silver and red lips with copper. The style of the bronze is based on the fabulous sculptural traditions of Kashmir, which were all but wiped out by marauding Muslim hordes in the medieval period. Many Kashmir bronzes, however, were brought to safe haven in Tibetan monasteries. Kashmir artists were invited to decorate the burgeoning local temples and monasteries. Thus a sophisticated Kashmir style was established in the western reaches of Tibet in the eleventh century, quintessentially embodied in this fine example, which set the local style for subsequent periods throughout the region. Compare an eleventh century standing copper alloy bodhisattva in the Kashmir style from Guge, see Ulrich von Schroeder, Buddhist Sculptures in Tibet, Hong Kong, 2001, p. 85, fig. II-13. And for the style that inspired the present Padmapani, compare a sculpture of Avalokiteshvara commissioned in Kashmir in 998 by the Tibetan Rinchen Zangpo, see ibid, p. 71, fig. II-5. For a twelfth century example now in the Norton Simon Museum, see Pratapaditya Pal, Art from the Himalayas and China, New Haven and London, 2003, p. 137, pl. 89.