A silver figure of Vajrapani
Tibet, 13th-14th century
4 1/4 in. (10.8 cm.) high

Provenance:
Private European collection.

Published:
Himalayan Art Resources (himalayanart.org), item no. 7773.

Vajrapani or Chakna Dorje, originally a peaceful bodhisattva in the Mahayana tradition, has a wrathful manifestation within the Vajrayana Buddhist tradition. The present form of Vajrapani is understood as the keeper of all the tantras, the ‘Lord of Secrets’ or ‘Ghuyapati’ (Skt.). The bodhisattva chooses to take this form for the sake of liberating others with the power of this appearance. His buddha effigy symbolizes his status as a fully enlightened protector of the dharma.

The pot-bellied Vajrapani, or ‘bearer of the thunderbolt’, stands in a powerful lunge on a lotus base, his right hand brandishing a dorje, the left in the threatening mudra, wearing a tiger skin and draped with a serpent in a shawl-like fashion. Serpents also hang from his earrings, around his neck, and adorn his wrists and ankles.

The present figure is highly unusual in terms of material and quality. The silver composition tells us that this was a significant commission. Despite the fact that the metal is softer than copper and greatly susceptible to abrasion through centuries of handling, sharp details remain: the head and hands of the tiger skin and much of the chasing work defining its fur, the buddha effigy and the flamelike hair with curled tufts at each end, as well as the many stippled serpent ornaments with lifted heads.

The flat lotus petals surrounding this slightly stepped base with beaded rims is a distinct feature of bronze sculpture from the Pala Kingdom of Northeastern India, which is carried forward in early Tibetan sculpture as well as in later Pala-revival-style sculptures emerging from the sixteenth through eighteenth centuries in Tibet and China. The present sculpture is an example of the early Tibetan type. The inward-facing serpents that secure the gathered tufts of hair on either side of Vajrapani’s buddha effigy ostensibly originated in Kashmir and proliferated through Pala prototypes. This early Tibetan convention seems to have become nonstandard by the fifteenth century, but is present here and is wonderfully articulated. The face of Vajrapani, with wide bulging eyes and a broad nose (which likely had an aquiline form now worn from handling) closely resembles that of a twelfth-century black stele of a four-armed Mahakala at the Metropolitan Museum of Art (acc. 2015.500.4.17) as well as that of a thirteenth-century bronze figure of Black Jambhala in the Rubin Museum of Art (acc. C2002.41.1; see Himalayan Art Resources item no. 65174).

Despite the apparent influence of early Northern Indian Vajrayana imagery, Vajrapani’s well-expressed musculature, especially apparent in his legs, is a feature that may be owed to a Kathmandu Valley artist’s hand or their active influence in Central Tibet at the likely time of this commission. Strong similarities in physique between the present figure and a gilt-bronze figure of Vajrapani at the Rubin Museum attributed to the thirteenth- or fourteenth-century Khasa Malla Kingdom support this possibility (acc. C2005.34.30; see Himlayan Art Resources item no. 65571). The Yuan emperor Kublai Khan’s appreciation and patronage of Newar artistry within China and its environs at the end of the thirteenth century certainly led to a greater fusion of styles under the Tibetan umbrella. The present sculpture, thus, reflects an ode to the Pala style and possibly, to Newar techniques.

A bronze figure of Vajravarahi
Tibet, Pala Style, 12th century
Bronze alloy with semi-precious stone inlay and cold gold
9 1/2 in. (24 cm.) high

Provenance:
Koller, Zurich, 1986.
Sotheby’s New York, 19 March 2008, lot 301.
Private Swiss collection.

HAR No. 8041

The present form of Vajrayogini, Vajravarahi or Dorje Phagmo to Tibetans, is a sow-headed manifestation of the goddess, who is the principal female deity of the Chakrasamvara cycle of tantras. Vajravarahi is particularly significant within the Karma Kagyu and other Kagyu traditions wherein she serves as an important meditational deity or yidam. While she is a fully enlightened being who embodies buddhahood in tantric female form, she is often referred to as a dakini or khandroma (‘sky goer’) in accordance with early Indian traditions. 

The goddess holds up a kartrika in her right hand and a kapala in her left, She dons a skull tiara, a necklace of pendant jewels and a heavy garland of severed heads hung on twisted rope. Her semi-wrathful expression is rendered with sharp canines emerging from the corners of her mouth. The present figure of the dakini is, nevertheless, elegant and poised. She dances on the toes of her left foot with her right leg slightly raised, demonstrating the lightness, space, and bliss that come along with fully realizing emptiness. Blending grace and power, the robust goddess centers her weight effortlessly on flexed toes, achieving an accomplished posture. The lifelike sow’s head that identifies her projects boldly from the proper-right side of her head. 

The present sculpture, cast in a beautifully-patinated metal alloy is inset with colourful semi-precious stones, inspired by the bronzes of Pala India of the eleventh and twelfth centuries, from where the cult of the deity herself originates. Compare the posture and details such as the style of the severed heads hung on twisted rope with a twelfth century Indian bronze Vajradaka published by Ulrich von Schroeder in Buddhist Sculptures in Tibet, Hong Kong, 2001, p. 295, fig. 98E.

A gilt-bronze figure of Vajradhara
Tibet, 15th century
5 in. (12.7 cm.) high

Provenance:
Private European collection.

HAR No. 8039

The figure is shown seated in dhyanasana on a double-lotus base, with his hands crossed before his chest and holding a vajra and a ghanta. He is clad in a dhoti and adorned with jewelry, his face has a serene expression and he wears a foliated tiara. Jeff Watt from the Himalayan Art Resources attributes this exquisite Vajradhara to Tibetan artist Sonam Gyaltsen. See an exceptional Avalokiteshvara signed by Sonam Gyaltsen (Bonhams, New York, March 19, 2018, lot 3033).

Bon Vajrapani
Tibet, 15th century
Gilt bronze
7 1/4 in. (18.4 cm.) high

Provenance: 
Acquired in 1993, New York.
Christie’s New York, 21 March 2008, lot 608.

A gilt-bronze figure of Vajradhara
Tibet, 15th century
9 3/4 in. (24.8 cm.) high

Provenance:
Private European collection, acquired in the 1950’s.

HAR No. 8375

Seated in padmasana on a double-lotus base with his arms in vajrahumkara mudra (highest energy) holding the vajra and ghanta, clad in a dhoti and a shawl draped over his shoulders with jointed hems extending from his elbows and freely flowing symmetrically downward, adorned with a belt and necklaces of bead and pendant swags, anklets, bracelets, and leaf earrings, hisah steadfast expression serene and an urna of inset turquoise, his hair pulled into a high chignon secured with a five-leaf tiara and surmounted by a half vajra; the base is sealed and consecrated with a double vajra.

Amitabha
Tibet, 15th-16th century
Gilt bronze
7 3/4 in. (19.7 cm.) high

HAR No. 36294

Tara
Tibet, 16th century
Gilt bronze
4 1/2 in. (11.4 cm.) high

Amitayus
Tibet, 16th century
Gilt bronze
9 in. (22.9 cm.) high

Provenance:
Private Polish collection.

HAR No. 8021

Seated on a double lotus base in dhyanasana¸ garbed in a billowing dhoti flowing between his crossed ankles, heavily adorned with jewelry and chakras inset with turquoise hardstones, the face in a serene expression with a gentle smile, elongated and downcast eyes flanked by lotiform earrings, and sharply arched brows surmounted by a foliate tiara, the hair in a high chignon and freely cascading down his shoulders.

The surface of this impressive figure is entirely covered in a rich fire-gilding. Such portrayals of Amitayus are characteristic of imagery from Tibet. He is associated with the rites that ensure long life, especially worshipped by Tibetans, who believe that life can be extended through long lineages, faith and compassion. It is also believed that one can achieve self-enlightenment and cater to the welfare of other with the help of Amitayus meditation.

Green Tara
Tibet, 16th century
Gilt bronze
5 1/2 in. (13.9 cm.) high

Vajrapani
Tibet, 17th century
Gilt bronze with polychrome
6 1/2 in. (16.5 cm.) high

Provenance:
Private North American collection.

HAR No. 8040

Vajrapani, the bearer of the thunderbolt, in wrathful form represented in a powerful cast stands in alidasana, the warrior pose, wearing a tiger-skin flanked by a windswept sash and jewelry adorned around his bountiful midsection, centered with beaded festoons. A thick snake is wrapped around the neck, The wild mane of hair is surmounting Vajrapani’s iconographic third eye. Detailed casting throughout, the face bears a fierce and detailed expression.

A bronze figure of Mahakala
Tibet, 17th century
Bronze with polychrome
6 in. (15 cm.) high

Provenance:
Toronto Collection, with Spink and Son, circa 1995.
Acquired by the current owner from a public sale, Toronto, 10 June 2013.
Christie’s, New York, 14 March 2017, Lot 209.

HAR No. 35867

“In Sanskrit Maha translates to great and Kala to time/death. Mahakala is the primary Buddhist Dharmapala and is respected in all schools of Tibetan Buddhism. All names and colors are said to melt into Mahakala, symbolizing his all-encompassing nature, and lustrous black skin. He is seen as the absolute reality. Shadbhuja, the six-armed Mahakala, is a favorite amongst the Gelukpa order of Tibetan Buddhism. Shadbhuja is recognized as the fierce, powerful, and wrathful embodiment of the Bodhisattva of compassion Avalokitesvara. Mahakala has many highly symbolic attributes, amongst them: The five-skull crown: This can be seen in every manifestation of Mahakala and symbolizes the transmutation of the five negative afflictions, known as kleshas, into the five wisdoms. The first klesha, ignorance (moha) becomes the wisdom of reality. The second klesha, pride (mana) transforms into the wisdom of sameness. The third klesha, attachment (raga) becomes the wisdom of discernment. The fourth klesha, jealousy (irshya) becomes the wisdom of accomplishment. Lastly, the fifth and final klesha, anger (dvesha) turns into mirror like wisdom. Six arms: The Shadbhuja form’s most unique and identifying feature is its six arms, which are representations of the six perfections (shad-paramita). The first perfection is generosity (dana-paramita), the second morality (shila- paramita), the third peace (shanti-paramita), the fourth vigor (virya-paramita), the fifth meditation (dhyana-paramita), and lastly the sixth, insightful wisdom (prajna- paramita). These perfections are practiced extensively throughout the course of a Bodhisattvas training, and their completion is an enormous accomplishment. In each of the Mahakala’s six arms is a unique and symbolic accoutrement. In the primary left hand of Mahakala is a skull cap (kapala) filled with minced remains of enemies to Dharma. This is referred to as the “heart-blood” of his enemies, and represents the five sense offerings. In the primary right hand of Mahakala is a crescent shaped chopper (katrika) or curved knife, which corresponds to the shape of the skull cap so it can be utilized for making the “mincemeat”. The chopper is a representation of detachment from samsaric existence. Within the secondary right hand lies a damaru, an hourglass-shaped drum which arouses the mentally-clouded from their ignorant state, putting them back onto the path of Dharma. The sound which emanates from the damaru is supposed to be the same as that which manifested all of existence. A rosary of dried skulls adorns the uppermost right hand; this symbolizes the perpetual activity of Mahakala on a cosmic scale, as rings are inherently continuous. The secondary left hand holds a noose, whose function is to lasso those straying from the divine path of Dharma. The skin of an elephant is held tight across the back of Mahakala in his upper left hand, symbolizing the ability to overcome delusion. Leg Posture: Aside from variations in the number of hands and skin color, Mahakala also has distinguishing variations in leg posture. The left leg being outstretched while the right is bent at the knee symbolizes accomplishments for others, and for himself, respectively. Underneath Mahakala lies a crushed elephant headed man holding a kapala offering in his right hand. The deity being crushed under Mahakala symbolized the overcoming of our primal, instinctive, and brute animal urges. Although these urges are violent and wild, they contain vast and productive energy, that when mastered and contained is integral for self-development and realization. The symbolism of elephants representing animal instinct stems from Tibetan folklore, which explains that dreaming of a herd of elephants is a sign that instinctive and irrepressible forces have been kept at bay for too long, and will soon be released. Another interpretation of the deity being crushed beneath Mahakala is that the elephant headed man is in fact Ganesh, with a flower offering in his left hand, and skull cap in his right. This crushing of a Ganesh is an aggressive and commonly used technique employed in Tibetan bronze sculpture in order to promote Buddhism while belittling Hinduism. The sun disc Shadbhuja Mahakala is seen standing on represents his illumination of knowing, in the darkness of ignorance. The lotus base on which the disc rests is a signifier of undefiled purity. Blazing fire is common theme with Mahakala, often shown in his eyebrows and flaming hair. The raw and primal energy fire represents his ability to consume and destroy all neurotic mental states. The three eyes of Mahakala signify his ability to see the past, present, and future. The fact that they are wide eyed show that he is involved deeply with current affairs. Mahakala’s powerful body is adorned with ornaments, fresh severed heads of those opposed to the way of enlightenment, sacred Brahmanical threads, and a snake. The writhing serpent is a metaphor, as not unlike the elephant, snakes represent primordial energy. Mahakala wearing the snake tame around his neck shows that he has tamed and harnessed these powerful emotions, using its energy for spiritual achievement rather than being impeded by it. Across the top of Mahakala’s back is a flayed elephant skin, and around his waist draped between his legs the flayed skin of a tiger.

A bronze and polychrome figure of Yama Dharmaraja
Sino-Tibetan, 18th century
Bronze
10 in. (25.4 cm.) high

Provenance:
From the collection of the Krook Family.
From the collection of the Swedish artist and designer, Wilhelm Kåge (1889-1960).
Christie’s New York, March 15, 2016, lot 267.

HAR No. 8209

Striding in alidhasana on a buffalo over a prone human figure on a lotus base with his hands extended out to his sides, adorned with beaded jewelry, a garland of severed heads, the face ferocious with the mouth open and tongue extended, the flaming hair topped by a skull tiara, Yami astride his leg offering a skullcup in her left hand, wearing an animal skin on her back, her face with wrathful expression, a consecration chamber open on the verso of the primary figure, with traces of polychromy on the heads of both figures and the buffalo.

Based on Pala period style bronze work, the deity on the present figure can be compared with an eighteenth century figure of Ekavira Bhairavajra, which displays similar modeling particularly of the head and jewelry (U. von Schroeder, Indo-Tibetan Bronzes, 1981, p.p. 472-473, fig.130c). Compare the bull mount with a similarly rendered sow, see U. von Schroeder, ibid, p.p. 488-489, fig. 138E.

A gilt-bronze figure of a bodhisattva
Tibeto-Chinese, Qing period, 18th century
7 1/8 in. (18.2 cm.) high

HAR No. 7630

Five-pointed spear
Tibet, 17th-18th century
29 ⅛ in. (74 cm.) long

Provenance:
Jean Claude Moreau-Gobard.
The Andrault Collection.

Published:
Himalayan Art Resources (himalayanart.org), item no. 7653.

The stylized prongs of this five-pointed spear blaze with fan-shaped, gilded scrolling flames, and a gilded skull is set in its base. As a weapon in the hands of wrathful deities, the trident symbolizes, among other things, the destruction of the three poisons that drive suffering in samsara: ignorance, greed, and hatred. Trident banners are often used to decorate the roofs of protector chapels dedicated to such wrathful deities.

The present spear with its five points, though symbolically synonymous with the trident, trisula, or mdung-rtse-gsum, most closely resembles that accompanying an image of the state oracle of Tibet known as Nechung Chokyong (Tib. gnas chung chos skyong) or ‘Religious Protector of a Small Dwelling [a monastery]’ in the great collection of the Potala Palace in Lhasa (see figure 1). 

This Nechung Chokyong incarnation lineage has held great sway over the Ganden Phodrang since the seventeenth century and the ritual investiture of this figure–who has the power to transcend his human body and embody a protective retinue figure of Pehar Gyalpo installed as an important protector by the Fifth Dalai Lama and his minister–includes the present five-pointed spear. 

The present ritual object is certainly rare. However, a nearly identical trident resides within the Musee Guimet in Paris (accession no. M15918).