The Buddha’s hometown was in ancient India, which comprised various countries in today’s South Asian subcontinent. In the eastern part of ancient India, a powerful dynasty emerged, ruling over modern east-central India, Nepal, Bangladesh, and eastern Pakistan. This dynasty put an end to vassal disputes, safeguarded Esoteric Buddhism, and produced exquisite religious artworks. Its influence extended to neighbouring regions like Myanmar, Sri Lanka, and Java, as well as the snow-covered plateau beyond the Himalayas. It is commonly known as the “Pala Dynasty” in the field of art collection.
Pala Dynasty and Indian Bronze Statue art
The exquisite work from the Pala Dynasty is a two-armed Avalokitesvara statue in a sitting position, with a curved figure sitting on a lotus platform, twisting the lotus stem with the left hand, and drooping the vow gesture with the right hand. The finely carved wreaths, bun, and fluttering ribbons around the ears reflect strong medieval characteristics. The alloy bronze material has become increasingly fine and soft through generations of inheritance, reflecting the holy brilliance of Guanyin, making it a rare boutique.
In the Middle Ages, the Gupta Dynasty in northern India was overthrown by the barbaric Heda people, also called the White Huns, causing chaos. Despite a brief reunification under King Jieri, prosperity was slow to come. Gopal became the king of West Bengal and united eastern and central India into a strong dynasty. The name “Pala” comes from kings ending their names with Pala, which means “guardian” in Sanskrit. The Pala kings were followers of Vajrayana Buddhism and welcomed Buddhist monks who sought refuge. While accepting of all religions, they had a special affinity for Buddhism.
Dharma Pala, Devopala, and his son played a crucial role in the revival and construction of numerous Buddhist Vajrayana monasteries and ashrams in the Pala region. The Bihar region is home to many sacred sites, such as the Vajra Seat in Bodh Gaya, the renowned Nalanda Temple where Xuanzang studied, and the Chaojie Temple and Odan Tapuri Temple where Atisha presided. These monasteries were not only centres of theory and practice for Vajrayana, but also revered sites in the Himalayas and the entire Buddhist community. They once housed countless rare manuscripts and exquisite Buddha statues. Sadly, the temples were eventually destroyed by invading soldiers during the eastward spread of Islam, and these treasures remained unknown for centuries.
Archaeological values of the Pala Dynasty
Scholars conducted field investigations and archaeological excavations in the Bihar region and Bangladesh at the start of the last century. As a result, esoteric statues from the Pala period were discovered one after another. Archaeologists excavated the temple site in Kurkihar, located near Bodhgaya where Venerable Kasyapa is said to have appeared. They unearthed several bronze Buddha statues with inscriptions from the Pala period.
The world is well aware of the extraordinary artistic achievements of the La Dynasty. Statues from the Pala Dynasty have also been found in the Nalanda area, Huashicheng, and various regions of Bangladesh. These Buddhist statues from the Pala period embody Gupta’s graceful and vibrant postures, while also incorporating the exquisite ornamentation and softness of Indian Esoteric statues. Unfortunately, due to the extinction of Buddhism in this area for a long time, it is challenging to find locally preserved Pala gold and bronze statues. Moreover, the unearthed Buddha statues are often severely corroded and unable to fully showcase their former grandeur.
Lima Bronze Statue in Tibet
Fortunately, ancient Tibetan pilgrims would cross the Himalayas year-round to visit places of interest in the Bihar region. On their return journey, most of them would ask for a small Buddha statue or pagoda from these sacred monasteries and either wear them or bring them back to Tibetan monasteries for worship. This pilgrimage custom has helped preserve the exquisite statues that were destroyed in India, allowing us to see them today. Pala gold and bronze Buddha statues brought back to Tibet are often adorned with blue hair and lacquered gold on the face, following the Tibetan method of enshrining.
Some Tibetans consider them sacred objects for personal protection and carry them in leather ropes or pouches. Over time, the copper shell of the statues becomes as smooth as skin, with natural wear and tear on some protruding parts. Holding these statues feels like holding a jewel, without any sharp points. This Avalokitesvara statue has muddy blue hair in the bun and preserves the original colour of the eyes and lips, which is highly valuable. There may be copper inlays under the cover of the coloured paintings, but examining them further would risk damaging the original state of the Buddha statue.
Bronze Statue of Pala Dynasty in Lima Lhakhang
The statues of the Pala Dynasty are primarily found in the highest-level monasteries in Tibet due to their long history. However, the availability of these statues for circulation is quite limited. In the 1980s, Mr Schroeder, a German expert in Himalayan art research, visited Tibet and thoroughly examined numerous significant Tibetan Buddhist temples. During his visit, he meticulously documented and organized a vast collection of statues that were stored in these temples.
He later published a book titled “Indo-Tibetan Bronzes” in Europe, which features statues from the Pala Dynasty sourced from various holy places such as the Jokhang Temple Zulakang and the Potala Palace Lima Lakang Hall, allowing for comparison. In recent years, the scarcity, religious significance, exceptional artistic quality, and profound historical significance of these inherited Pala Buddha statues have garnered increasing popularity among collectors.
Since the eighth century, the religious situation in India has undergone significant changes due to the changes in the social situation. The Hindu master Shankara integrated the teachings of Mahayana Buddhism and established the Vedanta philosophy of non-dualism, which strengthened the theoretical system of Hinduism. This greatly impacted Buddhism, leading it to integrate more deeply with Indian Esotericism. The statues in the Pala period depict not only the Sutra themes inherited from the Gandhara and Gupta periods but also images of Esoteric Buddhism.
Bronze statue of Avalokitesvara
During this period, various Vajrayana Bodhisattvas, female gods, Dharma protectors, and complex esoteric deities emerged. This statue of Avalokitesvara Bodhisattva represents the esoteric Avalokitesvara that was popular during this period. Guanyin, known as Avalokiteśvara in Sanskrit, embodies the supreme belief concept of Mahayana Buddhism, symbolizing compassion, salvation, and the bodhisattva way of selflessness.
Guanyin Bodhisattva first appeared around the second century, holding a lotus in the earliest Gandhara statues. By the time of the Pala Dynasty, the Buddhist deities had undergone extensive transformation, expanding from one Buddha to all Buddhas and eventually including gods. The most important Indian esoteric ritual document, “Achievement Dharma Garland,” written around the eleventh century, records over fifteen forms of Avalokitesvara. Research conducted by Ms Li Ling of the National Museum identified over thirty images of Avalokitesvara, belonging to hundreds of categories.
Two Versions of Guanyin Statues
What kind of Avalokitesvara is it, holding a lotus with grace? Traces of its rituals can be found in the “Achievement Dharma Garland” translated by Bhattacharya, an Indian iconography master. Dr Bhatcharya specifically mentioned two rituals that match the image of this statue: Lokanatha Avalokiteśvara and Khasarpana Avalokiteśvara. Shizizai Guanyin has three sitting postures according to the rituals, but when a single statue appears in Zizizai, it is identical to the image of Dakini Guanyin. They are all white, seated comfortably on a lotus platform, wearing a high-bun crown with a Buddha on top. The right hand has the wish seal, while the left-hand holds a lotus and sprinkles nectar.
The difference between the two can only be judged by the dependents: the World Avalokitesvara is mostly a single statue, occasionally accompanied by two dependents, Tara and Matou Mingwang. On the other hand, the dependents of Dakini Avalokitesvara also include a good fortune boy and a frowning mother. Since both Guanyin hold lotus flowers, they are sometimes collectively referred to as Guanyin holding a lotus in iconography when it is difficult to distinguish them strictly.
In the Pala area, Avalokitesvara rituals are more popular, suggesting that this statue is likely an Avalokitesvara. Shizizai, Sanskrit Luganata, is often translated into other names like the protector of the world, the world’s honour, and the world’s honoured freedom. Originally, it was the name of the Buddha, emphasizing the status of Avalokitesvara as the first saviour of the world and the leader of righteous deeds. His three sitting postures correspond to three kinds of achievements, and the Buddha on his head is Vajra Buddha, the same as Amitabha Buddha, who eliminates all disasters and diseases.
Phakpa Lokeshara in Potala Palace
In Tibet, it is sometimes called Logeshara, the Tibetan antiphonal of another Sanskrit name, Lokeśvara. Tibetans consider it the deity of Dharma King Songtsan Gampo and attach great importance to it. According to the “Biography of the Fifth Dalai Lama,” the fifth Dalai Lama, along with Gushri Khan, invited the statue of Avalokitesvara, naturally formed from white sandalwood during the legendary Songtsan Gampo period, to the Potala Palace. It is enshrined in Kangsheng Guanyin Hall and has become a treasure of the Potala Palace.
This bronze statue of Avalokitesvara embodies the mature artistic style of the Pala period. Inheriting the classical art principles of Gupta, the body appears slender and graceful, with a tall and straight figure exuding a sense of glamour and beauty. The soft and steady charm reveals the noble state of the bodhisattva untainted by mortal dust. Particularly expressive is its resolute and comfortable expression, showcasing the Bodhisattva’s compassionate attention to the human world, as well as its transcendent and infinite confidence and power to alleviate suffering.
Art of Statue making in ancient India
Indian classical aesthetic theory emphasizes the “taste” of art. Ancient Indian literature considers sculpture and painting on equal footing with drama, dance, music, and architecture, as means of embodying the unity of the Brahman and the self. These creations are centred on the liberation of life for religious purposes. The “Purana of the Supreme Dharma of Vishnu” narrates the story of the celestial being Maragandhya and King Vajra to explain the principle of art through analogy.
According to the story, when King Vajra asked Morogen Deye to teach him statue-making techniques, the immortal said: those who don’t understand painting scriptures can’t comprehend statue characteristics because both painting and dance express the world – this is known as the “If there is no theory of dance, it is difficult to understand the theory of painting”. Indian artists generally believe that sculpture painting, like music and dance, imitates the Three Realms. Therefore, the eyes, emotions, expressions, postures, and gestures in dance performances must also be expressed in sculpture. Measurement is akin to rhythm in music and holds great importance. Additionally, the supreme charm of art extends beyond these external rules that solidify expression and resides in the “taste”. The ancient Indian master Bharata stated in “On Dance”:
“Taste emerges from the fusion of reason, modality, and indeterminate emotion. Similar to how connoisseurs savor food enriched with numerous ingredients and seasonings, wise individuals savor ordinary emotions by engaging in diverse emotional expressions through contemplation… Without taste, none of the meaning functions.”
Aesthetics and art of the Statue
In Indian art and aesthetics, the eight flavours of love, laughter, sadness, anger, courage, fear, disgust, and shock are expressed through the flavours of eroticism, humour, compassion, violence, heroism, terror, disgust, and strangeness. These flavours are combined to create “extreme joy”, which represents perfection and transcendence, similar to how various coloured lights combine to form white light.
The top craftsmen of the Pala dynasty are proficient in traditional Indian aesthetics and can create at the highest level, whether in painting or sculpture. If one can thoroughly comprehend the “taste,” one will not only gain a deeper appreciation for the beauty of Indian statues but also transcend the limitations of external craftsmanship and ornamentation, reaching an artistic level that surpasses ordinary taste.
The copper Pala Guanyin statue embodies the pinnacle of Buddhist art in India. The bodhisattva’s slanted waist and opposite head angle project a strong and heroic strength. The bowed eyebrows raised mouth corners, and slightly lowered jaw gaze at all beings with compassionate eyes. It appears to float with the wind, lending a majestic and serious aura to the peaceful Bodhisattva.
The delicate flower stems and bright buds symbolize Bodhisattva’s boundless love, bestowing nectar upon all living beings. Each part resembles a crystal, cleverly emitting a spectrum of seven colours. What’s truly remarkable is the statue’s overall presence, radiating an extraordinary sense of tranquillity akin to a clear and flawless pool of water. This embodies the essence of “the taste of ecstasy” as defined by the ancient Indian art master Abinnava Gupta – “the peace of willingly relinquishing something.” The statue resembles a frozen dance, exemplifying the artist’s precise mastery of this “finest taste.”
Bronze and copper Statue making skills in Qing Dynasty
The original collector greatly values and adores this art treasure, and has carefully paired it with a set of valuable pedestals and backlights. This set, made during the Qianlong period of the Qing Dynasty, is cast with the renowned Zijin Lima copper alloy. Zijin Lima is an exceptional alloy created from various precious metals using a Nepalese craft formula in the Qing Dynasty court. It is considered the highest level of ancient statue material technology.
According to the Qing Palace’s “Working Documents of the Manufacturing Office”, Zijin Lima requires the use of red copper bars, gold, silver, tin, lead, steel, mercury, imported diamonds and five-colour glass powder in its production. The development and finalization of Zijin Lima took place in the late Qianlong period, and production ceased after the Qianlong Dynasty ended. It was exclusively utilized by the Qing Palace for a little over 20 years, making it exceedingly rare worldwide.
In recent years, Zijin Lima Buddha statues have become synonymous with the finest court statues of the Qing Dynasty, as people have come to appreciate and recognize their value. Backlights made of Zijin Lima are scarce, with only a few transitioning from the former emperor’s hall to the public. It is fortuitous for future collectors that its size perfectly complements an ancient Indian statue that has been separated for centuries.
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References
- [1] Bhattacharyya, B: The Indian Buddhist Iconography. London, New York, 1924.
- [2] Huo Wei: Polo Art Style in Buddhist Grotto Murals in Western Tibet, Archeology and Cultural Relics, 2005
- [3] Ruan Rongchun: The Three Peaks of Ancient Indian Buddha Statues Influencing China, Yiyuan, 2011
- [4] Guan Xin: Indian Buddhist Architecture and Statues, Fayin, 1988
- [5] Li Manali: Buddha’s Light in Tianzhu——Buddhist Bronze Statues of the Baltic Period in Ancient India, Collection, 2014
- [6] Miyaji Akira: Three Types of Indian Buddhist Art, Dunhuang Studies, 1998
- [7] Xue Keqiao: Research on the Main Dojos of Vajrayana Buddhism in India, South Asian Studies, 2012
- [8] Xiangben: A Brief Introduction to the Development of Indian Buddhism from Primitive Buddhism to Mahayana Buddhism, Buddhist Studies, 2008
- [9] Zhang Zhangsheng: A Brief History of Nalanda, Fayin, 1996
- [10] Li Ling: Ancient Indian Buddhist Statues, Fayin, 2007
- [11] Li Ling: Rituals of Avalokitesvara Statue, Religious Culture Publishing House, 2007
- [12] Ngawang Lobsang Gyatso, translated by Chen Qingying: Biography of the Fifth Dalai Lama, China Tibetology Press, 2006
