Eleven-Headed Avalokiteshvara

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Eleven-Headed Avalokiteshvara

Western Tibet, Tholing region, early 11th century
Sculpture
Leaded brass inlaid with silver
15 1/2 x 6 1/2 x 3 1/4 in. (39.37 x 16.51 x 8.26 cm)
Gift of Harry Kahn (M.78.40)
Currently on public view:
Resnick Pavilion, floor 1

Since gallery displays may change often, please contact us before you visit to make certain this item is on view.

Curator Notes

...
Avalokiteshvara, the Bodhisattva of Compassion, is represented here in his cosmic form with eleven heads emphasizing his watchful nature and six arms. Eight of the eleven heads represent the cardinal directions and their intermediate points, while the remaining three symbolize the zenith, nadir, and center. The eleventh head at the top represents the Buddha Amitabha, of whom Avalokiteshvara is considered to be an emanation. He symbolizes the universal compassion of all Buddhas. Apart from Amitabha, the ten heads represent Avalokiteshvara’s attainment of each of the ten Bodhisattva stages and also symbolize his watching over beings throughout the ten directions of space. The three heads on the lower tier have benign faces, while the remaining seven heads are wrathful. The three left hands hold the stem of a lotus, water pot, and staff. The upper right hand holds an honorific fly whisk. The middle right hand is held in the gesture of exposition (vitarka mudra) and the lower right hand is held in the gesture of charity (varada mudra). He sits cross-legged in the meditation posture (padma asana) on a lotus base. He wears antelope skin draped around his shoulders, patterned dhoti, necklace, and bracelets. He has a separate nimbus surmounted by a stupa (funerary mound), festoons, and the sun and moon; and an aureole (prabhavali). Both coronas are executed with a flaming border. The pierced front of the pedestal has a demigod (yaksha) in the center with his right hand raised in a supporting gesture. He is flanked by two rearing lions. An obscure Tibetan inscription along the front and sides of the pedestal base has been provisionally translated as, Pleased to set this up at Hrogs tri as a vow (in return for) help from Nya’a (Nyag) Chang Lha. (Translation by H. E. Richardson.)
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Bibliography

  • Linrothe, Rob. Collecting Paradise: Buddhist Art of Kashmir and its Legacies. New York: Rubin Museum of Art, 2014.
  • Little, Stephen, and Tushara Bindu Gude. Realms of the Dharma: Buddhist Art across Asia. Los Angeles: Los Angeles County Museum of Art, 2025.
  • Linrothe, Rob. Collecting Paradise: Buddhist Art of Kashmir and its Legacies. New York: Rubin Museum of Art, 2014.
  • Little, Stephen, and Tushara Bindu Gude. Realms of the Dharma: Buddhist Art across Asia. Los Angeles: Los Angeles County Museum of Art, 2025.
  • Pal, Pratapaditya.  "Cosmic Vision and Buddhist Images."  Art International vol. XXV, no. 1-2 (1982):  8-40.
  • Pal, Pratapaditya.  Art of Tibet.  Los Angeles; Berkeley, CA:  Los Angeles County Museum of Art; University of California Press, 1983.
  • Pal, Pratapaditya; Dehejia, Vidya; Slusser, Mary Shepherd; Fisher, Robert E.; Brown, Robert L. Arts of Asia 15 (6): 68-125 (November- December 1985).
  • Pal, Pratapaditya. Art of Tibet. Expanded edition. Los Angeles: Los Angeles County Museum of Art, 1990.
  • Reedy, Chandra L.  Himalayan Bronzes:  Technology, Style and Choices.  Newark:  University of Delaware Press, 1997.
  • Xingyun, editor. Encyclopedia of Buddhist Arts. Los Angeles: Buddha's Light Publications USA, 2018.
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