The present lotus-bearing form of Avalokiteshvara, known accordingly as Padmapani, is the most common form of the deity found in the Nepalese context. In contrast to the Indian tradition in which he is shown seated, Nepalese representations almost always depict Padmapani standing. Avalokiteshvara has been widely worshipped in Nepal from at least the mid-sixth century, and as such, this form has been perfected. Like the lotus, which rises from its murky bed below the water to blossom in the pristine air, Padmapani has detached himself from the pain and impurities of the material world and is enlightened in body, speech, and mind. The figure’s lithe form and slightly-tilted head give a life-like quality and grace to this finely-cast bodhisattva.
The present sculpture is a particularly fine and relatively large example of a gilt-copper depiction of the widely-appreciated bodhisattva. The figure stands with his weight on his right leg, with his shoulders rolled back, revealing the solid torso, with the head cocked in an elegant pose. The long dhoti extending all the way past his knee is adorned with lush vegetal scroll motifs. Foliate-shaped armlets adorn the upper arms, and gem-inlaid pendants adorn his ears and arms. The downcast face is centered by a small, bow-shaped mouth and aquiline nose below heavy-lidded eyes and sharply-arched brows. The large lotus flower above his shoulder is highly stylized and forward facing, evoking the sculptural works of the Pala style from Northeastern India. Compare the iconography and posture of the present work with another seventeenth-century Padmapani sold at Christie’s New York, 21 March 2011, lot 285.