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Lot Essay
Vajrabhairava, one of the principal meditational deities of Tibetan Buddhism, is the terrifying form of Manjushri, the God of Wisdom. Like Yamantaka, he is a destroyer of death itself. His depictions vary from the highly complex with multiple heads and arms to the very concise with a single face and two arms. The present work shows him in embrace with Vajra Vetali, symbolizing the dualistic totality encompassing compassion (embodied by the male) and wisdom (associated with the female).
Exquisitely cast in several parts, this bronze depicts Vajrabhairava standing in pratyalidhasana atop eight bulls, eight geese and various prostrate figures on a double-lotus base. His primary buffalo face is surmounted by tiers of wrathful heads and a diadem of flaming hair. He holds a curved knife and skullcup in his lower hands, while the rest of his hands, each holding an implement, radiate at his sides. Vajra Vetali stands with one leg wrapped around his waist, back arched and arms raised holding a curved knife and skull cup in her hands. Both figures are adorned with beaded jewelry and skull crowns, a garland of severed heads hangs between them.
Following the Pala tradition of masterful non-gilt bronze work, this sculpture retains a rich dark brown patina overall, a characteristic of Lamaist sculpture from the Qing dynasty. Compare with a closely related work from the Musées Royeaux d'Art et d'Historie in Brussels (see: U. von Schroeder, Indo-Tibetan Bronzes, 1981, p.546, fig.155A). Fully realized and exceptionally cast, this work is among the finest sculptural figures of its kind.
Exquisitely cast in several parts, this bronze depicts Vajrabhairava standing in pratyalidhasana atop eight bulls, eight geese and various prostrate figures on a double-lotus base. His primary buffalo face is surmounted by tiers of wrathful heads and a diadem of flaming hair. He holds a curved knife and skullcup in his lower hands, while the rest of his hands, each holding an implement, radiate at his sides. Vajra Vetali stands with one leg wrapped around his waist, back arched and arms raised holding a curved knife and skull cup in her hands. Both figures are adorned with beaded jewelry and skull crowns, a garland of severed heads hangs between them.
Following the Pala tradition of masterful non-gilt bronze work, this sculpture retains a rich dark brown patina overall, a characteristic of Lamaist sculpture from the Qing dynasty. Compare with a closely related work from the Musées Royeaux d'Art et d'Historie in Brussels (see: U. von Schroeder, Indo-Tibetan Bronzes, 1981, p.546, fig.155A). Fully realized and exceptionally cast, this work is among the finest sculptural figures of its kind.