Images of Devotion - capriaquar.it

3. Padmapâni with devotee
Brass
Nepal
19 th century
48 cm
Padmapâni is depicted here making the gesture of fearlessness,
abhaya-mudrâ, with his right hand. This gesture denotes
his ability to pacify and, most importantly, his faculty to
protect human beings against threats of any kind which may
damage their spiritual or physical health 1 . The gesture is,
therefore, addressed towards the believer who turns to Padmapâni
in order to invoke his protection. Indeed, the devoted
believer who commissioned this image is depicted at the
Bodhisattva’s feet, hands joined at the height of her heart in
the gesture of homage (namaskâra-mudrâ) and turned towards
the observer. Judging by her position, with her front
facing the viewer and not the Bodhisattva, and the presence
of the small lamp opposite her, it is likely that this object was
placed in a temple or family chapel, facing a hierarchically
more important deity. The lady wears heavy earrings and a
sari, the draping of which is hinted at by slight engravings at
the height of the chest. Although her arms are represented
in an obsequious attitude, her legs are relaxed and her left
knee is raised. This position can also be found in the depictions
of some Nepalese queens like, for example, Riddhilakshmî,
the consort of king Bhûpatîndra Malla, in the Vaishnava
temple of Changu Nârayâna.
The image of Padmapâni has been produced finely, showing
the delicate features of her face and a special attachment of
her hair, highlighting her prominent forehead, which was already
visible in Nepal as of the 15 th century 2 . Indeed, the
Newar artists of the Nepal Valley look constantly at the past
as a reference point for their artistic production. Although
they do indeed turn to the present, creating new stylistic el-
19
ements, they remain faithful to standard iconography and
iconometry.
The image of Amitâbha, the Cosmic Buddha presiding over
the Lotus Family to which Padmapâni belongs, can be made
out on the latter’s elaborate diadem, embellished with turquoises
and coral.
The halo (prabhâ) encircling the Bodhisattva consists in a
multitude of large flowers and a garland of buds. It is a typical
element of the art developed following the Gorkha dynasty’s
conquest of the Nepal Valley (1768-1769), and by
aesthetics conditioned by the taste of the Rana family, to
whom the first ministers of Nepal belonged from 1846 through
to 1951 3 . Stylistically similar halos can also be seen in the
monastery of Rudravarna in Patan, both around a pair of
statues depicting the goddess Târâ which flank the portal of
the main chapel, and around the portal itself, where two luxuriantly
flowered shrubs branch out to join together forming
a prabhâ. On the top of the latter there is a triple umbrella,
similar to that of the statue presented here, symbol of the
Three Jewels: the Buddha, his doctrine and the community
of his followers.
The throne on which Padmapâni stands is supported by elephants
and lions, symbols of the Buddha Shâkyamuni and
commonly depicted in this position. On either side of the
throne there are two bells, similar to those found both at the
entrance and inside temples, representing the offer of sound.
The throne rests on a wooden lotus-shaped base, whose
petals bear traces of pigments, the colours of which correspond
to those of the Families of the Cosmic Buddhas.
1 Fredrick W. Bunce, Mudrâs in Buddhist and Hindu Practices. An
Iconographic Consideration, D. K. Printworld, Delhi 2001, p. 2.
2 Ulrich Von Schroeder, Indo-Tibetan Bronzes, Visual Dharma Publications,
Hong-Kong 1981, p. 362, fig. 97A.
3 Mary Shepherd Slusser, Nepal Mandala. A Cultural Study of the
Kathmandu Valley, Princeton University Press, Princeton 1982,
p. 402.