.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
Lot Essay
This commanding image of Vajrapani in union with his consort exemplifies the intense spiritual dynamism and technical virtuosity characteristic of high 18th century sculpture from Tashi Lhunpo Monastery, the seat of the Panchen Lama. Executed in parcel gilt copper alloy, the figure projects extraordinary vitality: Vajrapani’s muscular form, tense with wrathful energy, surges forward from a lotus base, his flaming hair and fierce expression rendered with dramatic precision. His consort entwines him in a gesture of perfect tantric union, embodying the indivisibility of wisdom and compassion.
The statue’s powerful presence is enhanced by the subtle contrasts between the gilded flaming aureole, garments, and jewellery against the dark-patinated skin of the figures and base. The sculptor’s hand is evident in every incised line and modelled curve, from the sinewy limbs to the elaborate jewellery that animates the divine couple’s divine ferocity.
This work bears the stylistic hallmarks of Newar craftsmanship, a tradition long revered in the Himalayas for its refinement and expressive force. During the 18th century, Newari artisans from the Kathmandu Valley were active at Tashi Lhunpo, commissioned by the Panchen Lamas to execute sculptures, thangkas and ritual implements of the highest quality. Tibetan textual sources, including the monastery’s own archival records, refer explicitly to these master craftsmen — known as Lalitakala Acharyas — who were engaged to preserve and perpetuate the classical Newar idiom within the framework of Tibetan iconography.
Their contributions were not merely decorative, but central to the monastic vision of the Panchen Lamas, who regarded sacred art as a vital medium for tantric transmission. This sculpture, with its commanding form and meticulous workmanship, likely originated in this context — a devotional image designed to evoke awe, protect the Dharma, and embody the enlightened of Vajrapani.
A four-armed Vajrapani embracing Mamaki of the same scale is most likely a part of the same set was sold at Christie's, New York, 17 September 1998, lot 119. Both are adorned with finely observed snake ornaments on their ankles and wrists.
Also compare with a Vajrapani and consort from the monastic collection recently features in Power and Devotion: Buddhist Art from the Macao Museum, Macao, 2016, cat. no. 66, pp. 224–225. Also see a Vajrapani in Rubin Museum of Art, (HAR 65105) and a Mahachakravajrapani in the Qing Palace Collection, see Wang (ed.), Zangchuan Fojiao Zaoxiang, Hong Kong, 1992, p. 251, no. 240.
The statue’s powerful presence is enhanced by the subtle contrasts between the gilded flaming aureole, garments, and jewellery against the dark-patinated skin of the figures and base. The sculptor’s hand is evident in every incised line and modelled curve, from the sinewy limbs to the elaborate jewellery that animates the divine couple’s divine ferocity.
This work bears the stylistic hallmarks of Newar craftsmanship, a tradition long revered in the Himalayas for its refinement and expressive force. During the 18th century, Newari artisans from the Kathmandu Valley were active at Tashi Lhunpo, commissioned by the Panchen Lamas to execute sculptures, thangkas and ritual implements of the highest quality. Tibetan textual sources, including the monastery’s own archival records, refer explicitly to these master craftsmen — known as Lalitakala Acharyas — who were engaged to preserve and perpetuate the classical Newar idiom within the framework of Tibetan iconography.
Their contributions were not merely decorative, but central to the monastic vision of the Panchen Lamas, who regarded sacred art as a vital medium for tantric transmission. This sculpture, with its commanding form and meticulous workmanship, likely originated in this context — a devotional image designed to evoke awe, protect the Dharma, and embody the enlightened of Vajrapani.
A four-armed Vajrapani embracing Mamaki of the same scale is most likely a part of the same set was sold at Christie's, New York, 17 September 1998, lot 119. Both are adorned with finely observed snake ornaments on their ankles and wrists.
Also compare with a Vajrapani and consort from the monastic collection recently features in Power and Devotion: Buddhist Art from the Macao Museum, Macao, 2016, cat. no. 66, pp. 224–225. Also see a Vajrapani in Rubin Museum of Art, (HAR 65105) and a Mahachakravajrapani in the Qing Palace Collection, see Wang (ed.), Zangchuan Fojiao Zaoxiang, Hong Kong, 1992, p. 251, no. 240.