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Avalokitesvara
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Description
Avalokitesvara
Gilt copper alloy
Tibeto-Chinese
Xuande mark and period, 1426-1435.
height 10 1/4 in. (26cm.)
Provenance:
W.H. Armistead Collection.
Avalokitesvara is identified by the diminutive image of Amitabha placed in the chignon behind the central crown leaf.
The sculpture strikes a regal pose with a facial expression of calm reassurance, befitting the role of Avalokitesvara as bodhisattva and saviour. The posture and countenance are restrained yet confidently interpreted, revealing the sensitivity of the sculptor and his finesse in the execution of detail.
The jewelry and scarves that adorn the figure and the lotus blossoms at each shoulder are typical of sculpture from both the Yongle (1403-1424) and Xuande imperial reigns. The full and rounded lotus petals of the throne, although not unknown in the Yongle period, are more usually associated with those of Xuande period sculpture. An image of Syamatara, see von Schroeder, 1981, no. 148G, bears exceptionally close comparisons to the present figure of Avalokitesvara in most respects, including the elegant portrayal of the fall of cloth over the belt at the midriff - an uncommon feature of sculpture of this period.
Gilt copper alloy
Tibeto-Chinese
Xuande mark and period, 1426-1435.
height 10 1/4 in. (26cm.)
Provenance:
W.H. Armistead Collection.
Avalokitesvara is identified by the diminutive image of Amitabha placed in the chignon behind the central crown leaf.
The sculpture strikes a regal pose with a facial expression of calm reassurance, befitting the role of Avalokitesvara as bodhisattva and saviour. The posture and countenance are restrained yet confidently interpreted, revealing the sensitivity of the sculptor and his finesse in the execution of detail.
The jewelry and scarves that adorn the figure and the lotus blossoms at each shoulder are typical of sculpture from both the Yongle (1403-1424) and Xuande imperial reigns. The full and rounded lotus petals of the throne, although not unknown in the Yongle period, are more usually associated with those of Xuande period sculpture. An image of Syamatara, see von Schroeder, 1981, no. 148G, bears exceptionally close comparisons to the present figure of Avalokitesvara in most respects, including the elegant portrayal of the fall of cloth over the belt at the midriff - an uncommon feature of sculpture of this period.