Sacred Statues
Explore the ancient meaning of Buddhist symbols through this glass plate negative collection of Tibetan statues
Buddha statue (1880s-1920s) by UnknownUSC Pacific Asia Museum
The Gomboev Collection
The glass plate negatives featured in this story originally come from Nikolai Ivanovich Gomboev, a Russian diplomat who collected antiquities while stationed in Beijing from 1872 to 1900. These pictures offer a window into the mythology and religion of Tibetan Buddhism.
Buddha statue (1880s-1920s) by UnknownUSC Pacific Asia Museum
Gautama Buddha Statue
These brass statues feature many key deities in Tibetan Buddhism. Perhaps none is more famous than the Buddha himself, depicted here sitting cross-legged on a "lotus throne," a classic pose and pedestal in Buddhist, Hindu, and Jain art.
Mudras
The meaning of the statue is often communicated through its hands. These mudras (hand poses) can reference specific moments in the Buddha's life or indicate a particular version of a deity. This statue features bhumisparsha mudra, referencing the moment the Gautama Buddha attained enlightenment.
Teacher Buddha
Sometimes, mudras communicate more general meanings. This statue of the Guatama Buddha features the Vitarka mudra, a gesture of discussion and transmission. This represents the Buddha's role as a teacher, imparting knowledge onto unenlightened souls.
Avalokiteshvara statue (1880s-1920s) by UnknownUSC Pacific Asia Museum
Avalokiteshvara
Other bodhisattvas are also depicted in this collection, such as this statue of Avalokiteshvara, one of the most significant figures in Tibetan Buddhism. The Dalai Lama is the spiritual leader of Tibetan Buddhism, and is traditionally considered an emanation of Avalokiteshvara.
Many heads and many hands
These statues often feature multiple heads and multiple pairs of arms, which add additional layers of meaning. Here, the upper hands are both in Gyan mudra, the middle hands are in karana mudra, and the front hands are in manidhara mudra. These symbolize knowledge, protection, and compassion, respectively.
Sitatapatra statue (1880s-1920s) by UnknownUSC Pacific Asia Museum
Sitatapatra
The number of hands and heads can reach extreme quantities. This statue depicts Sitatapatra, a major female protector boddhisattva said to have 1000 faces and 1000 arms. In Sanskrit, the number 1000 is often used to mean "numerous" or "inifinite," rather than an exact quantity.
The White Parasol
In English, Sitatapatra translates to "The White Parasol," which references the shape of her numerous arms and her role as a protector deity. All of her hands are posed in karana mudra, which offers protection from supernatural harm.
Uṣṇīṣavijayā statue (1880s-1920s) by UnknownUSC Pacific Asia Museum
Uṣṇīṣavijayā Statue
Many of these statues carry objects in their posed hands, adding more complex symbolism. This statue of Uṣṇīṣavijayā, the personification of the Uṣṇīṣavijaya Dhāraṇī, a major Buddhist mantra (chant). She carries several ritual objects, including a bow, an arrow, and a bell.
Amaravajra Devi statue (1880s-1920s) by UnknownUSC Pacific Asia Museum
Amaravajra Devi statue
These additional faces and additional hands can create a fearsome effect, such as in this statue of Amaravajira Devi, a semi-wrathful female deity who represents longevity. As seen here, she is traditionally depicted with 8 faces and 16 hands, carrying weapons and standing on top of two human figures.
Hevajra and Nairātmyā statue (1880s-1920s) by UnknownUSC Pacific Asia Museum
Hevajra and Nairātmyā statue
Sometimes, statues depict deities with their consorts together in yab-yum, which translates to "father-mother." The male figure represents compassion and skillful means, while the female figure represents wisdom. Their union has the power to break worldly illusions.
Mahâcakra-Vajrapâni statue (1880s-1920s) by UnknownUSC Pacific Asia Museum
Mahâcakra-Vajrapâni with consort
In this case of yab-yum, the male figure is Mahâcakra-Vajrapâṇi, who commonly represents the power of all the Buddhas. This is indicated by the flaming aureole that surrounds him, as well the four additional hands in karana mudra, which mark him as a protector deity.
Klu statue (1880s-1920s) by UnknownUSC Pacific Asia Museum
Klu statue
Another common variety is Klu statues, which depict serpentine water spirits often identified with the Indian Naga. The upper set of hands are in the protective karana mudra, while the lower pair are in the compassionate manidhara mudra pose.
Seated Ganapati
Though he is best known by his Hindu name, Ganesha, the white elephant god Ganapati is also a major figure in Tibetan Buddhism. Here he is seated upon his throne and flanked by two monkey attendants. In his hands he holds kalasha (offering pot) and a bouquet of mango leaves, both auspicious symbols.
Standing Ganapati
In this depiction of Ganapati, he is much more active, lunging to the right and carrying an ankusha (elephant hook). His hands are posed in karana mudra, and he is surrounded by a flaming aureole, both of which represent his power as a protector and remover of obstacles.
Palden Lhamo statue (1880s-1920s) by UnknownUSC Pacific Asia Museum
Mounted Gods
This statue depicts Palden Lhama, the wrathful defender of Tibet. Her fearsome visage includes three eyes, snarling fangs, and a crown of five skulls. She is the only female deity among the eight dharmapalas, a significant group of protector deities in Tibetan Buddhism.
A Gruesome Protector
In Tibetan mythology, Palden Lhamo's saddle is made from the skin of her son, whom she flayed and ate after he joined his father in persecuting Buddhists. In her left hand she carries a cup filled with his blood. At the neck of her mule, she carries a bag of diseases to be used in protection of the faith.
Mārīcī statue (1880s-1920s) by UnknownUSC Pacific Asia Museum
Mārīcī Statue
This final statue features Mārīcī, the goddess of the dawn. She is seated on a lotus throne in a carriage pulled by seven boars. Two of her hands are held together, forming the Añjali Mudrā (prayer gesture) and the other six are in karana mudra, dispelling all obstacles to happiness.
Funding generously provided by The Gladys Krieble Delmas Foundation
Photography by Peter Perigo
Curation and writing by Isabel Jansen-Montoya and Gloria Zhou
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