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Collections

Unknown
The Bodhisattva Vajrapani with his Acolyte Vajra Anucharacirca 7th century

On view: Resnick Pavilion
Bronze sculpture of a tall standing figure with leaf-shaped halo resting a hand on a much smaller standing child figure, both on a shared rectangular base, with green patina and traces of gold gilding
Small bronze sculpture of a standing figure with a large circular halo or disc head, wearing a draped lower garment, accompanied by a smaller figure at the left side; dark patina with traces of gilding throughout, on a flat rectangular base.

Unknown, The Bodhisattva Vajrapani with his Acolyte Vajra Anuchara, circa 7th century, Los Angeles County Museum of Art, From the Nasli and Alice Heeramaneck Collection, Museum Associates Purchase, photo © Museum Associates/LACMA

Artist or Maker
Unknown
Title
The Bodhisattva Vajrapani with his Acolyte Vajra Anuchara
Place Made
Nepal
Date Made
circa 7th century
Medium
Unalloyed copper with traces of gilding
Dimensions
5 3/8 x 2 1/2 x 1 1/4 in. (13.65 x 6.35 x 3.17 cm)
Credit Line
From the Nasli and Alice Heeramaneck Collection, Museum Associates Purchase
Accession Number
M.75.4.14
Classification
Sculpture
Collecting Area
South and Southeast Asian Art
Curatorial Notes
This elegant sculpture portrays the Bodhisattva Vajrapani (Vajra-Holder), the manifestation of the supreme power of the enlightened heart-mind. As the embodiment of transcendent wisdom, Vajrapani is the enforcer of conversion to the Buddhist path. Vajrapani is nimbate and wears a miter. In his outstretched right hand, he offers a jewel (ratna) symbolic of the Three Jewels of the Buddha’s teaching. His left hand rests on the thunderbolt (vajra) emerging from the head of his principal attendant, Vajra Anuchara (Adamantine Attendant), who represents his personified thunderbolt (Vajra Purusha). It is Vajra Anuchara, not Vajrapani, who actually carries out the act of coercing disbelievers to convert to Buddhism. Standing resolutely in his characteristic cross-armed position (vinaya hasta), Vajra Anuchara's compact powerful figure appears self-confident and ready to fulfill his assignments from Vajrapani. See also M.74.105.2.

Selected Bibliography
  • Sivaramamurti, C. India, Ceylon, Nepal, Tibet. 2 vols. Torino, Italy: UTET, 1988.
  • Pal, Pratapaditya. The Ideal Image : The Gupta Sculptural Tradition and Its Influence. New York : Asia Society in association with J. Weatherhill, 1978.
  • Kramrisch, Stella. The Art of Nepal. New York: The Asia House Inc., 1964.
  • Reedy, Chandra L. Himalayan Bronzes: Technology, Style and Choices. Newark: University of Delaware Press, 1997.
  • Rosenfield, John. The Arts of India and Nepal: The Nasli and Alice Heeramaneck Collection. Boston: Museum of Fine Arts, Boston, 1966.
  • Huntington, John C. and Dina Bangdel. The Circle of Bliss: Buddhist Meditational Art. Columbus: The Columbus Museum of Art; Chicago: Serindia Publications, 2003.
  • Pal, Pratapaditya. Art of Nepal. Los Angeles: Los Angeles County Museum of Art; University of California Press, 1985.
  • Xingyun, editor. Encyclopedia of Buddhist Arts. Los Angeles: Buddha's Light Publications USA, 2018.
  • Peyton, Allysa B. and Katherine Anne Paul. Arts of South Asia: Cultures of Collecting. Gainesville: University of Florida Press, 2019.
  • Little, Stephen, Tushara Bindu Gude, Karina Romero Blanco, Silvia Seligson, Marco Antonio Karam. Las Huellas de Buda. Ciudad de México : Instituto Nacional de Antropología e Historia, 2018.
  • Little, Stephen, and Tushara Bindu Gude. Realms of the Dharma: Buddhist Art across Asia. Los Angeles: Los Angeles County Museum of Art, 2025.