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Collections

Unknown
The Buddhist Goddess Vajravarahi17th century

Not on view
Small gilt bronze sculpture of a multi-armed dancing deity with sweeping ribbon scarves, wearing a jeweled crown, standing on an oval lotus pedestal

Unknown, The Buddhist Goddess Vajravarahi, 17th century, Los Angeles County Museum of Art, Gift of Paul F. Walter, photo © Museum Associates/LACMA

Artist or Maker
Unknown
Title
The Buddhist Goddess Vajravarahi
Place Made
Central Tibet
Date Made
17th century
Medium
Leaded copper-zinc-tin alloy with traces of gilding
Dimensions
6 1/2 x 4 1/2 x 1 3/4 in. (16.51 x 11.43 x 4.44 cm)
Credit Line
Gift of Paul F. Walter
Accession Number
M.74.106.1
Classification
Sculpture
Collecting Area
South and Southeast Asian Art
Curatorial Notes

The esoteric Buddhist goddess Vajravarahi (Adamantine Sow) is the embodiment of transcendent wisdom. Highly venerated in her own right, Vajravarahi is also the consort of Chakrasamvara, the personification of transcendent compassion. In her dancing posture depicted here, she is the supreme dakini (Female Sky-goer), a group of wrathful female divinities who represent the generative power and innate presence of the Buddha that is found in all sentient beings. Her ecstatic dance of enlightenment overcomes and dispels delusion, which is symbolized by the small head of a female pig projecting as an excrescence above her right ear. Her flying scarf forms a nimbus around her head and conveys the exuberance of her dance by lending an energetic sense of movement to the sculpture.

Vajravarahi has a third eye indicative of her mystical insight. She is profusely ornamented with an elaborate tiara, necklaces, armlets, bracelets, anklets, long garland of severed skulls (mundamala), animal skin waist wrap, and a serpent encircling her body. The fierce goddess holds a flaying knife (kartika) in her raised right hand and a skull cup (kapala) in her left, which she uses respectively to cut through the fog of ignorance and to hold the blood symbolic of wisdom's triumph over delusion. A tall ritual staff (khatvanga) rests against her left shoulder. She dances in the half-squatting dancing posture (ardha paryanka asana) with her left foot trampling a human corpse representing the delusions of the illusory self.

See also M.70.1.3, M.71.73.131, M.73.2.1, M.80.110, M.84.224.1, M.88.213.12, and M.90.195.

Selected Bibliography
  • Pal, Pratapaditya. Art of Tibet. Los Angeles; Berkeley, CA: Los Angeles County Museum of Art; University of California Press, 1983.
  • Reedy, Chandra L. Himalayan Bronzes: Technology, Style and Choices. Newark: University of Delaware Press, 1997.
  • Pal, Pratapaditya. Art of Tibet. Expanded edition. Los Angeles: Los Angeles County Museum of Art, 1990.