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The 'Oesho Icon'

The Oesho Icon was thus named probably because of popular use of the name / designation since antiquity.  The icon is inscribed (with gold inlay on the facing right of the base) with the Bactrian Kharosti title for the Lord 'oesho' and it also carries the Sanskrit title (in gold inlay on the left of the base) of 'isa', being the Kashmir area's popular title for the Lord -- and additionally a Chinese inscription (in gold inlay on the front of the base) reads "Isa Christ, Son of Heaven".  Therefore, although the icon evidently carries three titular inscriptions. in three languages it became known as the Oesho Icon.

Church history first records a description of Oesho Icon in the 4th century but at the time refers to it as 'ancient' and relates the popular belief that the icon was made during the time of the Lord's earthly presence, being a true depiction of his features at the time of the "Great Buddhist Council of King Kanishka".  History presents us with a challenge in this instance since we understand Kanishka and a Great Council to coincide at the earliest in the year 120 or 160 -- which would render the earthly body of the Lord more than 100 years old at the time.

The breast of the Lord is decorated with the Church's early cross, being a double dorje with the early 'two fishes' symbol in the center (the earliest Yin / Yang symbol).

The collar of the white inner garment, of a lighter cotton material, is decorated in the typical Gandaharan style where Hellenistic culture seems to meet with Hindu and Persian culture.

The eyes are a striking blue colour and the hair a pitch blue/black with gentle waves and touches of grey in places. The hair parts almost in the centre of the high forehead--a feature we see in almost every eastern icon. The eybrows are wide and thick while the moustache and beard are neatly trimmed, although, in style and hardness of hair representing that of an older man.

The outer garment is a heavy double walled coat that could have been stuffed or layered inside.  The outer garment seems to be seamless and of a style not seen in any other icons we have knowledge of.

The face is particularly sharp featured although a distinct oriental look is underlying.  This perhaps underscores the Tradition that the sculptor was a Chinese artist from Khotan who was commissioned by the Church (Mary Magdalene, according to some sources) to meet with the Lord and fashion 'his likeness'.

Perhaps the most striking feature of Oesho Icon is the very early (probably the original) 'bleeding heart of the Lord' which earned the Lord the title of Avalokitesvara.  The heart, in the shape on the icon, was a popular motif in the Persian tradition of the time but the inclusion of the Ohm is a rare occurrence, probably occurring only in icons of the Lord.

Whether this wood icon dates back to the 2nd century or not we have no opinion.  It could be a copy of the original, we know that many copies were made, especially by the same artist who fashioned the original.  This item was shipped from Pakistan in 2002 to be restored in Toronto and is presently in the care of the Church in Canada.

This Oesho Icon stands 62cm tall.

The chakra designation on the right palm is a , reminiscent of many early icons of the Lord.