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Expert’s note:
Few examples of the Pala style as it was reproduced in Tibet remain as faithful to the spirit of sensuality in Indian art as this. A particularly fine Pala original would have served as the model from which the present lot bronze figure drew inspiration, like the gilt bronze figure of Avalokiteshvara in the Patna Museum, Bihar (fig. 1).
The figure was probably cast by Newari craftsmen working for a major monastic establishment in central or southern Tibet. It nevertheless stands apart from most works associated with this group in its restrained use of inlay, allowing the sensuous modeling of the deity’s lithe body and the intricate articulation of his elegantly poised fingers and toes to come to the fore.
The physiognomy and broad countenance are characteristic of the famed Newari 'Standing Padmapanis', such as one held by the Rubin Museum of Art, accession number C2005.16.8 (fig. 2). Compare the treatment of the crown, hair, and face of a larger gilt-copper image of Avalokiteshvara Padmapani, dated circa 14th century, 49 cm high, in Zhwalu Monastery, southern Tibet, and illustrated by Ulrich von Schroeder, Buddhist Sculptures in Tibet, vol. 2, 2001, p. 958, no. 229A (fig. 3). The lotus base and jewelry are shared by two larger 14th-century gilt bronze figures depicting Vajrasattva and Syamatara, 47.4 cm and 54 cm high, illustrated by Ulrich von Schroeder, Indo-Tibetan Bronzes, 1981, p. 429, nos. 112D (fig. 4) and 112E (fig. 5).
Seated in lalitasana upon a beaded double-lotus base, the right hand lowered in varadamudra and the left raised before the chest in vitarkamudra, each holding the stem of a lotus that blossoms to the shoulders. The slender figure is richly adorned with beaded necklaces, armlets, bracelets, anklets, and a jeweled belt securing a diaphanous dhoti.
The serene face bears a compassionate expression, with downcast almond-shaped eyes beneath arched brows, a slender nose, and full lips forming a subtle smile, flanked by elongated earlobes suspending foliate earrings. The hair is gathered into a high chignon surmounted by a finely executed diminutive image of Amitabha Buddha, all behind an elaborate tiara centered by an inlaid ruby.
The base is sealed with a copper plate neatly incised with a double vajra.
Metallurgy: The present figure is distinguished by the remarkable quality of its casting. The alloy consists predominantly of copper, with smaller amounts of zinc and tin. The rich, high-carat gold layer was applied using the traditional mercury-gilding technique.
Provenance: Benny Rustenberg, Amsterdam, Netherlands, in the 1980s. A noted European private collection, acquired from the above. Benny Rustenberg (1940-2017) was a prominent Dutch collector, traveler, and dealer who specialized in Asian antiquities, particularly Tibetan, Nepalese, and Chinese Buddhist art.
Condition: Very good condition with expected ancient wear and casting irregularities. Rubbing to gilt, remnants of cold gilt to the face, pigment to the hair, and gilt to the seal plate. The ruby inlay to the crown added later.
X-Ray Images: Available upon request. These images suggest the possible presence of sacred contents inside the figure's head. Since the statue is hermetically sealed and must remain unopened, confirming its contents is impossible, leaving their nature uncertain.
Weight: 4.3 kg
Dimensions: Height 25.8 cm
Avalokiteshvara Khasarpani is a compassionate manifestation of the bodhisattva Avalokiteshvara, one of the most widely revered figures in Mahayana Buddhism. As the embodiment of karuna, or boundless compassion, Avalokiteshvara is believed to hear the cries of all beings and respond to those in distress. The epithet Khasarpani distinguishes a specific form of the deity associated with benevolence, protection, and the granting of spiritual and worldly aid.
The cult of Avalokiteshvara developed in India during the early centuries of the Common Era and later spread throughout Nepal, Tibet, China, and Southeast Asia. In each region, the bodhisattva assumed different forms while retaining his essential role as a merciful savior. Khasarpani became particularly important in the Buddhist traditions of eastern India and Nepal, where he was invoked in ritual, meditation, and devotional practice.
Literature comparison:
Compare a near identical Tibetan gilt-bronze figure of Avalokiteshvara Khasarpani, dated to the 15th century, included in Xia Ming’s Exhibition of Buddhist Images and Thangkas at the 2014 Beijing International Design Week, and illustrated on Himalayan Art Resources, item no. 33643.
Auction result comparison:
Type: Closely related
Auction: Sotheby’s New York, 15 March 2017, lot 215
Price: USD 588,500 or approx. EUR 700,000 converted and adjusted for inflation at the time of writing
Description: A gilt-bronze figure of Tara, Tibet, 15th century
Expert remark: Compare the closely related modeling, manner of casting, and gilding.
Auction result comparison:
Type: Closely related
Auction: Bonhams New York, 13 March 2017, lot 3030
Price: USD 487,500 or approx. EUR 580,000 converted and adjusted for inflation at the time of writing
Description: A gilt copper alloy figure of Tara, Tibet, circa 15th century
Expert remark: Compare the closely related modeling, manner of casting, and gilding. Note the much smaller size (20.3 cm) and turquoise inlays.
Auction result comparison:
Type: Closely related
Auction: Bonhams New York, 23 September 2020, lot 616
Price: USD 680,000 or approx. EUR 767,000 converted and adjusted for inflation at the time of writing
Description: A gilt copper alloy figure of Maitreya, Khasa Malla, 13th-14th century
Expert remark: Compare the closely related modeling, manner of casting, and gilding, with similar crown, hair, and jewelry. Note the larger size (31.8 cm).
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