Sadakshari Lokeshvara
gilt copper alloy with silver and turquoise
Western Nepal/Western Tibet
Khasa Malla, late 13th – early 14th century
height 44.7 cm – 17 ½ in

A large and unusual Khasa Malla gilt copper sculpture of Sadaksari Avalokitesvara of the 13th-14th century in the collection of Sandor Fuss.

This is a fine example of the fine metal working tradition of the Khasa Malla kingdom, a tradition which flourished during the thirteenth and fourteenth century. This tradition is notable for its brief efflorescence – we only have firmly dated object from the last quarter of the 13th century to the mid-fourteenth – and for the mystery that surrounds the dynasty who name we give it. The Khasa Mallas were kings with somewhat contradictory origins and leanings. As Indo-aryans who first used the language now known as Nepali –the state language of the world’s “only Hindu kingdom” – they were apparently Buddhists who ruled an area containing both Tibetan Buddhists and Brahmanical Nepalese.

The metal sculpture tradition patronized by these kings has clear antecedents in the Nepal valley techniques and sculptural characteristics, but the tradition can easily be identified by certain stylistic characteristics and traits that are uniquely Khasa Malla. Among these perhaps the most prominent are the habit of sharply delineating the joints of the fingers on the back of the hand and the rough treatment of the rear of the base of the sculpture. These stylistic oddities are combined with other traits that are not necessarily unique to the tradition but are usually found in the sculptures – the use of gilt copper as the basic material; a rice grain pattern in the hem of garments when such garments are found; a pronounced beading on the lotus base; and red paint applied to the back of the base of the sculpture in some cases.

The Fuss Avalokitesvara is unusual for its size and elaboration. At 17 inches in height it is one of the largest Khasa Malla metal sculptures so far known. An image of the Buddha, without base, in the Peaceful Wind gallery collection is the same size, while another Khasa Malla figure of the Buddha, also without base, in the collection of the Patan Museum is somewhat larger.

The name Sadaksari Avalokitesvara, can be rendered as the Avalokitesvara of the six syllables, a reference to the mantra “Om Man padme hum” which is the mantra of this form of the god. This form is not well known in the Kathmandu valley traditions, but is perhaps the most popular Buddhist bodhisattva in the Tibetan pantheon, where he, and his mantra, are closely associated with the Dalai Lama, who is considered his emanation. The figure has been encountered previously in the Khasa tradition, including a delightful miniature rendering in the Ford collection (KM fig 57) and another slightly larger but example in a private collection (KM fig 58).

In this sculpture we can easily detect several of the identifying characteristics of the Khasa Malla tradition. The odd emphasis of the finger joints – found in no other tradition – is visible in several pictures (CD 32, 33, 34). The red paint on the back of the base of the sculpture, covering the rather roughly finished and ungilt rear of the lotus is typical as well (CD 38, 40). The black paint covering the ungilt hair is also found in several other Khasa Malla sculptures, but unfortunately is not clearly evident in any of the published photographs. Another common Khasa feature is the emphatic beading at the top and bottom rims of the base. We see the same feature at the top of the base in several of the figures in KM, including the two Sadksari (KM 52, 53, 56-58).

This sculpture is extraordinary for its elaboration and luxury. While many other Khasa images are adorned with skilfully rendered jewellery, in this example we see elaboration not encountered elsewhere: the richly beringed fingers and the lovely elaborate scroll-work beneath the lotus stand out. It appears that the eyes of the figure are inlaid with silver, something we have not previously encountered in Khasa sculpture, although sculpture in silver is known (KM 33, 34). The size and luxury of the sculpture leads us to speculate that it may well have been a royal commission, but unfortunately the image is not inscribed.

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