Marpa Chokyi Lodrö (1012-1097), also known as Marpa Lotsawa, “the translator”, is seated in the lotus position, his hands on his knees, wrapped in a long sleeve robe held in place with a sash and topped with a meditation cloak. His droopy eyes are inlaid with silver, his earplugs with gold, the piping on his clothes with copper. We will notice the delicate hands, the realistic facial features, the way the pleats of the sleeves and waist have been given volume to make the fabric look thick, unlike the luxurious gown on the next picture.
This work depicts him with a square and sad face, seated on a finely decorated cushion, wrapped in a soft, tight-fitting garment richly incised on the upper part, his hands resting on his knees, one leg unfolded. The meditation cloak is held far back.
This is a very similar portrait but with his eyes cast down (and plain garments and cushion). On both sculptures the foot that is showing is bare (and his legs look too short).
This more impersonal portrait of Marpa depicts him with the same type of ‘kimono-like’ garment with ample sleeves, seated on a throne in the lotus position, his feet covered by a generous amount of fabric.
Still with a sad gaze, Marpa holds a thunderbolt in his right hand and a bell in the other. The hem of his garment is decorated with thick beading. He has one leg unfolded, the tip of a boot showing from under the robe. On all these sculptures, Marpa has very thick, short hair.
On other works, which depict him with harmonious proportions and in a rather idealised way (much younger, with an oval face, smiling) his hair is long and combed back.