Avalokitesvara Padmapani

COLLECTION NAME:

The AMICA Library

mediaCollectionId

AMICO~1~1

The AMICA Library

Collection

true

AMICA ID:

CMA_.1976.3

amicoid

CMA_.1976.3

AMICA ID

false

AMICA Library Year:

1998

aly

1998

AMICA Library Year

false

Object Type:

Sculpture

oty

Sculpture

Object Type

false

Creator Nationality:

Asian; Indian Sub-Continent; Nepalese

crc

Asian; Indian Sub-Continent; Nepalese

Creator Nationality

false

Creator Dates/Places:

Nepal

cdt

Nepal

Creator Dates/Places

false

Creator Name-CRT:

Nepal, c. 12th century

crt

Nepal, c. 12th century

Creator Name-CRT

false

Title:

Avalokitesvara Padmapani

otn

Avalokitesvara Padmapani

Title

false

Title Type:

Primary

ott

Primary

Title Type

false

View:

Full View

rid

Full View

View

false

Creation Date:

c. 12th century

oct

c. 12th century

Creation Date

false

Creation Start Date:

1080

ocs

1080

Creation Start Date

false

Creation End Date:

1219

oce

1219

Creation End Date

false

Materials and Techniques:

bronze

omd

bronze

Materials and Techniques

false

Dimensions:

Overall: 62cm

met

Overall: 62cm

Dimensions

false

AMICA Contributor:

The Cleveland Museum of Art

oon

The Cleveland Museum of Art

AMICA Contributor

false

Owner Location:

Cleveland, Ohio, USA

oop

Cleveland, Ohio, USA

Owner Location

false

ID Number:

1976.3

ooa

1976.3

ID Number

false

Credit Line:

John L. Severance Fund

ooc

John L. Severance Fund

Credit Line

false

Rights:

http://www.clemusart.com/museum/disclaim2.html

orl

<a href="http://www.clemusart.com/museum/disclaim2.html"target="_new">http://www.clemusart.com/museum/disclaim2.html</a>

Rights

false

Context:

The Nepalese bronze seen here represents one of the most revered Buddhist deities, the Bodhisattva of Mercy, Avalokiteshvara. This iconography is attested by the seated figure of Buddha Amitabha in his crown, always present with this deity. The image sometimes is referred to as Padmapani (lotus bearer) since the lotus stalk held in his hand is another identifying mark of this bodhisattva. Here it is held in his proper left hand, shown in the flower-holding gesture (kataka mudra) although now the stem isbroken off. The right hand expresses a boon-conferring gesture (varada mudra). The bodhisattva is clad in a dhoti and adorned with the rich ornaments and the long sacred-thread (yajnopavita). The subtle sway of the body gives it a special rhythm and grace, which is further emphasized by the beautiful and spiritualized face, lighted by a compassionate smile. The unusually sensitive rendering of the body, with its smooth and highly polished skin surfaces, contrasts successfully with the sharp definition ofthe ornaments and clothing, making this image particularly appealing. The twelfth century was one of the most prolific and accomplished periods in metal casting in Nepal, of which this image is eloquent evidence. Not only is it large (by bronze standards) but technically and aesthetically it is a masterpiece. It is one of the most important and beautiful Nepalese bronzes in existence today. The technique, as customary, was cire perdue, the lost wax method. Finishing touches were then added by hand; here they include an additional inlay of semi-precious stones enhancing the ornaments. As a rule images were gilt, of which only slight evidence remains on this bronze. Yet the high copper content, typical of Nepalese bronzes, gives it an unusually deep brownishcoloring that is particularly attractive. S.C.

cxd

The Nepalese bronze seen here represents one of the most revered Buddhist deities, the Bodhisattva of Mercy, Avalokiteshvara. This iconography is attested by the seated figure of Buddha Amitabha in his crown, always present with this deity. The image sometimes is referred to as Padmapani (lotus bearer) since the lotus stalk held in his hand is another identifying mark of this bodhisattva. Here it is held in his proper left hand, shown in the flower-holding gesture (kataka mudra) although now the stem isbroken off. The right hand expresses a boon-conferring gesture (varada mudra). The bodhisattva is clad in a dhoti and adorned with the rich ornaments and the long sacred-thread (yajnopavita). The subtle sway of the body gives it a special rhythm and grace, which is further emphasized by the beautiful and spiritualized face, lighted by a compassionate smile. The unusually sensitive rendering of the body, with its smooth and highly polished skin surfaces, contrasts successfully with the sharp definition ofthe ornaments and clothing, making this image particularly appealing. The twelfth century was one of the most prolific and accomplished periods in metal casting in Nepal, of which this image is eloquent evidence. Not only is it large (by bronze standards) but technically and aesthetically it is a masterpiece. It is one of the most important and beautiful Nepalese bronzes in existence today. The technique, as customary, was cire perdue, the lost wax method. Finishing touches were then added by hand; here they include an additional inlay of semi-precious stones enhancing the ornaments. As a rule images were gilt, of which only slight evidence remains on this bronze. Yet the high copper content, typical of Nepalese bronzes, gives it an unusually deep brownishcoloring that is particularly attractive. S.C.

Context

false

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Avalokitesvara Padmapani