Bodhisattva in Gray Schist, Art of Gandhara, 2nd-4th Century J.C

A nice vintage early to mid-20th century gilt bronze sculpture of the Buddhist deity Avalokiteshvara in his four armed form, known as Chaturbuhja, or Chenrezig in Tibet. Chenrezig, a form of Avalokiteshvara, the bodhisattva of compassion (known as Guan Yin or Kwan Yin in Chinese), sits in vajrasana upon a high double lotus pedestal. One pair of hands is clasped in prayer at heart level, the other pair of hands raised upwards at shoulder lever and holding discreet attributes, a mala (prayer beads) in one hand, a lotus blossom in the other. Chenrezig is dressed in an elaborately patterned floral dhoti that covers his lower half. His torso bare, shoulders covered with a shawl and scarves that billow out around him. He is festooned with jewels, necklaces, bracelets, armlets, earrings, belt and a five pointed crown. The earrings studded with coral. The crown studded with turquoise. His face is cold painted with beautiful details. The hair has been pigmented blue with crushed lapis, indicating his peaceful nature. The copper base plate is inscribed with a visvajra (double vajra...

A striking Gandharan molded stucco head of a male Bodhisattva, tentatively identified as Manjushri, ancient region of Gandhara, probably Hadda or surrounding area, 3rd-5th century. The Bodhisattva is sculpted of stucco in an idealized manner as a youthful male, with soft and kind features, a benign expression on his face. He wears an elaborate pleated turban wrapped around his head, with two sweeping lobes at the front. His turban secured on one side by a small image of a roaring lion. The lion may be read as a reference to Manjushri, the Bodhisattva of Wisdom, who is often depicted as riding or subduing a roaring lion, a metaphor for taming the wild thoughts of the mind. Manjushri gazes outwards in a beatific manner from almond shaped eyes, a gentle smile on his lips. The eyes at different levels when looking at the sculpture head on, indicating the original placement of the head was meant to be viewed at an angle. Remnants of pigments to the eyes, nose, mouth and ears. Mounted on a custom black metal stand. Hadda was an important center of Buddhist learning in the early history of Greco Buddhist Gandhara, and at one time may have housed a bone relic of the historical Buddha, Shakyamuni. The sculpture and architecture of Hadda followed Hellenistic artistic conventions faithfully, leading some scholars to believe the distinct Greco Buddhist style of Gandhara was first developed in Hadda before spreading to the rest of the region. The kingdom of Gandhara was situated at a crossroads of trade and cultures. Being one of the last remnants of Alexander the Great's Empire, the inhabitants of the Greco-Bactrian Buddhist kingdom preserved Greek culture and heritage for centuries after the decline of the Greek Empire...

Three early 20th century red horn carvings of Buddha and Bodhisattvas. These three carvings all from approx. circa 1915 represent the bodhisattvas and or the ...

An impressive larger than life-size cast and gilt bronze left hand and arm of a bodhisattva, late 19th century or earlier, Tibet. The over-sized arm and hand of graceful proportions. The arm tapering down to a slender wrist embellished with a simple bracelet hiding the join between the hand and arm. The hand and arm richly gilt. The join to the elbow visible and exposed. The hand heavily cast, with nice detail to the fingernails and cuticles. The palm with simple incised lines. The hand, with the pointer and pinky fingers raised, and the middle and ring finger folded down touching the thumb, performs the gesture known as karana mudra, the gesture of dispelling evil. (Here in Texas we refer to this gesture as "Hook'em Horns!") Karana mudra is often associated with Avalokiteshvara, the bodhisattva of compassion, known in Tibet as Chenrezig, and in China as Guanyin. The hand and arm would originally have been part of a much larger sculpture. Unfortunately many Tibetan Buddhist sculptures...