Amogaphasha Flanked by Goddesses

At the center of this triad is the bodhisattva of compassion Avalokiteshvara as Amogaphasha, “Unfailing Lasso.” The name refers to his unfailing compassion, like a lasso that rescues all sentient beings from suffering. He is seated with one leg pendant on a high lotus seat, and he holds a mala and performs the pensive and giving gestures with his right hand while holding a broken haft (likely originally a hook), flask, and lotus in his left hand. Based on descriptions of similar triads in the Aryamoghapashakalparaja, the two goddesses who flank him with their hands forming veneration gestures and holding lotuses are likely Tara (right) and Shveta (left).Three kneeling donors are also depicted. The male and female flanking the rock base are in their normal positions for a Kashmiri sculpture. Another is unusually placed atop the rock base between the lotuses of the deities.

The art of Kashmir had a great influence on Tibetan Buddhist art, not only in terms of style but also for its development and depiction of early esoteric, or tantric, deities. Many of the earliest Himalayan bronzes depicting multi-headed and multi-limbed tantric deities are from this region, as is this six-armed form of the bodhisattva. Typical for late Buddhist productions from the region are the pointed flaming halo, the curled hair to the sides of the head, the set-back chin best visible in profile, and the pointed veils behind the heads of the female figures.