An effigy of Amitabha would positively identify this sculpture as Avalokiteshvara, but the figure has lost its crown with any information it may have carried. Similarly, there is no certainty that it is Manjushri, however both bodhisattvas are portrayed in a similar way in western Tibetan sculpture of this period and it may be assumed that this impressive statue represents one of these important deities. Avalokiteshvara sometimes displays the varadamudra with the right hand, as does Manjushri.1 The gesture in which the left hand is held is more reminiscent of depictions of Vajrasattva, where he would be expected to hold the ghanta, of which there is no trace. Moreover, Vajrasattva would normally hold a vajra up to his heart in his right hand.2 Whatever the iconography, the sculpture remains a striking example of the western Tibetan assimilation of Kashmiri styles in the earliest period of creative contact between the two peoples. The delineation of the musculature of the abdomen, where the area above and below the navel is divided into lobes and ripples, is typical throughout this style group.3

The garment wrapped tightly around the waist and legs has a floral pattern cut in deep relief, another trait of sculpture of this region and period.4 The metal in which this imposing statue is cast has a silvery sheen, probably indicating the inclusion of arsenic in the alloy.

1 Compare an eleventh-twelfth-century western Tibetan Avalokiteshvara, see von Schroeder, 2001, pls. 45C-E, p. 163, and for a c. eleventh-century Manjushri, ibid. pls. 40A-C, pp. 152-153, pls. 41B-E, pp. 154-155 and 43C-E, p. 159.
2 See von Schroeder, 2001, pl. 47C, p. 167.
3 Compare the Avalokiteshvara, ibid. pls. 45C-E, p. 163.
4 See von Schroeder, 2001, figs. II-12, p. 81. Note the similarity of the girdle, earrings and shape of face.