REVIEW ON THE BUDDHIST METAL SCULPTURES OF PATAN MUSEUM – PART 3

AMOGHPAS LOKESHWAR

Amoghpas Lokeshwar, Bronze with gold plate, 7th/8th C.E. Patan Museum

The sculpture of Amoghpas Lokeshwar is cast in bronze with gold-plate and inset with ruby, which is displayed in gallery A of Patan Museum. It is 17.5cm high and is originated in Nepal around 7^th/8^th C.E. The Buddhist iconography usually depicts its complexion in white in the painting.

The firm standing (Samabhanga Sthanak) round figure of Amoghpas Lokeshwar with golden complexion bears eight arms with various hand gestures (Hasta Mudra) and attributes (Ayudh). The principal right hand of the sculpture is in the gesture of reassurance (Abhaya Mudra) that looks after someone’s dominion and prevents from descending to minor-league, whereas the principal left hand holds a vase of potion of immortality (Amrit Kalash) that denotes radiance consequences in endless existence. Its lower right hand poses the gesture of charity (Varada Mudra) that creates compassion for being paid preferred belongings utterly whereas its second lower left hand holds a lotus that represents the cheerfulness blossoming in compassionate action. Here, the third right hand seems empty since the attribute is missing. Corresponding to the iconography, this hand holds a lasso (Amoghpas) which ties soul, body and mind to acumen from life to life. Similarly, the third left hand also seems empty where trident (Tridandi) is missing, which conquers the iniquity of the triplex universe. The upper right hand of the sculpture is also empty. The iconography of Amoghpas Lokeshwar suggests that the right upper hand holds a rosary (Akshyamala) that narrates OM MANI PADME HUM, the six syllables spiritual hymn of Avalokiteshwar, which sets free oneself from the repression of repetitive cycle of transmigration, birth, death and rebirth without the end. And the upper left hand holds a scripture that represents the teaching of acumen for setting free from the cycle of phenomenon world. Here, the diamond shape motif is delicately drawn up in the palm and lines of phalanx of the fingers are chiseled of its each hand. The head of the sculpture of Amoghpas Lokeshwar has a peaceful round face where the eyes are a bit bigger and the eyebrows are drawn slightly upwards. The nose looks fairly fit to the face whereas the mouth is a bit meager with little coarse lips, which express a serene smile of Lokeshwar. It has sleek cheeks and little round chin on face. There also seems pointed round mark on its forehead that alleged to be Urnakosh. It has also elongate ears with coarse earlobes. There is also a cone shaped hair bunch (Jattajut) with the tiny figure of Amitabh Buddha, which symbolizes the form Amoghpas Loheshwar is an emanation of Amitabh Buddha and significantly adores in Vajrayana and Mahayana Buddhism. The hair bunch seems gold plated and also inset a tiny gemstone ruby on the top of it, however the lower hair seems painted with blue mineral pigment and skillfully engraved the lines of hair in symmetrical order and its whorls are falling down onto the both side of the shoulder. The neck of the sculpture seems stout and squat with three semi-circular necklines drawn upwards where the body seems slim as a teen male character and overall body parts seem bare however the hip of the sculpture is drawn with the tiger skin where the head of tiger in relief form can be seen in its right hip and knotted relief legs with claws of tiger can be seen on its pubis. Also there is drawn the relief head of antelope on left shoulder of the sculpture symbolizes severe acumen of the Amoghpas Lokeshwar. The standing position of legs appears quite rigid and also gives the impression of disproportionate. The upper legs or thighs are a bit shorter than the lower legs from the centre of knees. The Iconography refers that the Amoghpas Lokeshwar always projects with standing on the blooming lotus; however the lotus pedestal in this sculpture is absent since it had been already missing placed before taking on by the museum for displaying in the gallery.

This particular bronze sculpture of Amoghpas Lokeshwar has distinct artistic features and also rare in the sculptural history of Nepal even in South Asian context and other Asian context as well. The principle feature of this sculpture is an absence of the customary jewelries like crown, earrings, necklace, waistband, armlets, bangles and anklets, which always portray in other sculptures of Amoghpas Lokeshwar across the world sculpted through various other mediums as well.  Another rare feature of this sculpture is the garment of tiger’s skin in its lower body part, whereas generally presented with loincloth (Jama or Dhoti).The style of this bronze sculpture might be earliest form of Amoghpas Lokeshwar in Nepal since its overall style is not comparable with the Malla Schooling of Metal Sculpture in Nepal and alike with the late ancient style (Pre-Thakuri Schooling/Mid-Lichchhavi Schooling of Metal Sculpture) of Nepal. There had been already revered Mahayana Buddhism in Nepal in 5^th C.E. (ancient period) during the reign of Lichchhavi King Vrishdev (Bajracharya, 1998, p 57), and the form of Amoghpas Lokeshwar had been adorned by its devotees from early medieval period of Nepal (Shakya, 2011, p 106). At these circumstances, it can be assumed that this bronze sculpture of Amoghpas Lokeshwar was originated during ca. 7^th /8^th C.E. 

Dedicated to

Late Mary Shepherd Slusser

(The Eminent International Art & Culture Historian of Nepal)

Note

The dimensions of the sculpture is taken from the book Patan Museum Guide due to the inappropriate circumstances to re-measure the objects showcasing in the glass interior for security purpose.

Image Source

The photograph from Patan Museum by Tejesh Man Shakya

Bibliography

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Shakya, M. B. (2011). The Iconography of 108 Lokeśvaras. Lalitpur: Young Men’s Buddhist Association.

Shakya, S. L. (2072 B.S.). A Study on Buddhist Metal Images of Patan Museum and Image Making Techniques. Tribhuvan University, Central Department of Buddhist Studies. Kirtipur, Nepal: Unpublished.

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© All rights reserved by the Author Shanti L. S. Bajracharya

Special Thanks to

Prof. Dr. Milan Ratna Shakya

Head of Department

Central Department of Buddhist Studies

Tribhuvan University

Mr. Suresh Lakhe

Acting Head

Patan Museum

Mr. Tej Ratna Shakya

Founder & Foundry based Classical Sculptor

Foundry Foundation Nepal

Mr. Shishir Ratna Shakya

Founder & Creative Head

Kala Nest

RESEARCH DIRECTOR

 TEJESH MAN SHAKYA