In Southeast Asian art, Avalokiteshvara is widely represented as Lokeshvara, a tradition that took root in the Pala period in India. In Khmer art, Lokeshvara’s iconography follows a similar representation as seen in the Pala idiom. In his regal depiction, Lokeshvara is also referred to as the protector of the world (lokeshvararaja), a title also taken by the Khmer Buddhist king, Jayavarman VII. The bronze figurine of Lokeshvara is similar in physiognomy and is stylistically attributed to the Khmer sculptures of 12^th century CE. Lokeshvara’s ten arms bear various attributes. Along with the multiple-arms, in Khmer art, we also see the eleven-headed (ekadaśamukha) variant. The stylistic features are highlighted with pointed conical crowns, large drooping earrings, a short lower garment (dhoti) with a folded sash around the waist. As mentioned in the Karandavyuha Sutra, each level of three heads indicates that the eleven-headed (ekadashashirsha) Lokeshvara is looking at three worlds, the world of desire (kamadhatu), the world of living forms (rupadhatu), and the world without form (arupadhatu); overlooked by Amitabha Buddha himself. This figurine is endowed with seven-heads in three tiers while looking back to the eleven-headed forms of Lokeshvara prominently seen in Khmer art. The Sadharmapundarika Sutra recalls Avalokiteshvara as facing all four directions (samantamukha) to help all beings. Further, the ten-stages (dashabhumis) associated with the attainment of perfections (paramitas) by a bodhisattva is also related to his tiered heads.