A Cast Bronze Figure of Ekadashalokeshvara Japan, 14th century

Acquired privately in London, early 1980s

Ekadashalokeshvara which literally means eleven-headed Avalokiteshvara, referred to as Juichimen Kannon in Japan, originated from Brahmanism and was believed to  control the weather.  Because weather was so important to livelihood in an agrarian society, this led to the bodhisattvabeing regarded as the highest form of compassion, and by extension, the savior of humanity.

The present example is cast from bronze with a good brown patina. The head and body are hollow with separate arms and separate front lower body construction. The right arm and front section are missing and the figure holds a water jar in his left hand.  The ten or eleven heads that sat on top of this figure’s head, are now lost . 

In India, there are not many examples of eleven-headed Avalokiteshvara figures. In China this iconography emerged during the late 6th century and references to such manifestations are known to have been  written in the 7th century. In Japan, this iconography appeared during the Nara period (710-794) and in 733, priest Genjo translated such texts which later gained popularity among the populace during the Heian period (794-1185).  See N. Kyotaro and E. Sano, The Great Age of Japanese Buddhist Sculpture: AD600-1300, Kimbell Art Museum/ Japan Society, New York, 1983.

The eleven-headed Avalokiteshvara and the thousand-armed manifestation, are considered esoteric forms of the bodhisattva, believed to have overcome eleven hardships in order to attain Buddhahood, which is why the head at the top is one of a Buddha. In another explanation of the iconography, Avalokiteshvara fails to fulfill his vow of saving all sentient souls from hell.  Each time he saved one soul, ten more would take its place. Eventually he was overcome and his head split into one hundred pieces. Amitabha Buddha gathered up the pieces and consolidated them into ten heads which he placed on Avalokiteshvara's shoulders, crowning the ten heads with one of his own, to let Avalokiteshvara know that Amitabha is always there to aid him in his goal of universal salvation. Such figures also often carry a rosary or a staff in its right hand, and a vase in its left hand.

In Japan, the earliest example of Ekadashalokeshvara is in a mural painting from the 7th century in Horyuji Temple Golden Hall, illustrated in T. Sawa, Art in Japanese Esoteric Buddhism, New York, 1972, p. 50, no. 45. Other examples from the Nara period includes one in the Shorinji in Nara, which is a national treasure, illustrated in T. Sawa, ibid., p. 53, no 52; and one in Kannonji in Kyoto, also illustrated in T. Sawa, ibid., p. 35, no. 29.  In the Hasedera temple in Nara, there are two statues of this kind.  One is a seated example and the other is standing, holding a staff on a rock.  Another figure in the Todaiji Nigatsudo is alledged to be of Ekadashalokeshvara but as it has never been unveiled, that cannot be confirmed.