From the 13th century onwards, the white form of Manjushri may hold a lotus from which part of a sword comes out, and another supporting a manuscript to his left. The above wears a tall Kashmiri-style crown, princely jewellery, a matching belt and something thicker than a sacred thread but smoother than the garland of flowers we often see on West Tibetan works.
This Manjushri sits with a leg pendant, his foot resting on a large lotus flower, displaying a sole incised with a flower, his hands doing the dharmacakra mudra and holding the stem of two lotuses supporting a (broken) sword to his right and a book to his left, adorned with princely jewellery, a sacred thread, and wearing a long lower garment decorated with double thunderbolts (visvajra) inlaid with (missing) stones in the style of the Densatil monastery. The double-lotus base is placed on a throne supported by snow lions and decorated with lotuses. He has a smiling face with semi-closed eyes and a rectangular urna.
Peaceful Manjushri occasionally has a half-vajra finial on his head.
This Nepalese-style work is heavily inlaid with stones including turquoise, lapis lazuli, carnelian. The shape of the petals on the lotus base is typical of Nepalese-style works made in Tibet during the 15th-16th century.
Despite the missing attributes, this sculpture is thought to be depicting Manjushri, a lotus attached to his left elbow, his hands doing the dharmacakra mudra, his chignon topped with a small buddha finial.
On this masterpiece, the lotus to his left supports a book topped with a flaming pearl or jewels, a flaming sword is sprouting from the other and his chignon is topped with a flaming pearl. His five-leaf crown and jewellery are inlaid with turquoise, lapis lazuli and coral. His softly draped lower garment is adorned with a Chinese-style belt typical of Eastern Tibet consisting in long beaded loops and strands of beads that go down to his knees.
Same as before, photo by Skinner.
There is a hair curl (urna) on his forehead.