In Buddhism, a bodhisattva is one who, out of compassion for suffering humankind, has renounced nirvana in order to lead others on their quest for the highest state of development, the full enlightenment of a Buddha. This male bodhisattva would originally have formed a central part of a magnificent and ornamental Buddhist altar, with other ornamented figures. The sculpture would probably have been seen from a below, so that the awestruck worshippers would be impressed with its rich and princely appearance.

The bodhisattva wears an elaborate crown with three large ornamental leaves, decorated with foliage and petals in high relief, executed with breathtaking dexterity. A row of pearls and spiralling curls frame the forehead. The prominent eyes are widely spaced, the nose is long and pointed, and the mouth, though small in relation to the other facial features, is sensuous and fleshy. The head is tilted forwards, making the chin recede. Around the bodhisattva’s neck are two necklaces and a sacred thread; around his hips, a belt decorated with floral roundels. He also wears a foliate armband, and strands of braided hair cascade over his left shoulder.

Kashmir has been a part of the Indian cultural sphere since the time of Ashoka. Its geographic situation, bounded on all sides by high mountains, has led to an insularity that contributed to the development of its unique cultural character. The political power of Kashmir expanded during the reign of the Karkota kings and reached its peak during the rule of Lalitaditya (699-736), when its territories included areas of northern India, and parts of Central Asia north of the Hindukush. It links not only with India, but also with the Himalayas, where the Gupta style was influential from the fifth century. Many of the characteristic features of this male figure can also be seen in Kashmir bronzes and stone sculptures of the period. The present bodhisattva is one of a small number of similar statues, all in the same style, representing an interesting cultural gap between the classic Gupta period and the later Kashmir style [1].

This rare bodhisattva, with his well-defined chest, narrow waist and slightly bulging belly, is subtly and masterfully modelled. The face with its pronounced features and lively expression evinces a strong individual character. The image embodies the spiritual inspiration present in early Indian terracotta art.

[1] P. Pal, Art and architecture of Ancient Kashmir, Marg. Publ., 1989, no 24, A male head, probably from Ushkur, dating


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