When seated, white Manjushri normally does the varada mudra with his right hand, occasionally he does the abhaya mudra. This was probably the case with the above sculpture, which depicts him seated on an unusual lotus base with four rows of petals and very large beading at the bottom. He holds a manuscript in his right hand. His (broken) celestial scarf forms an arch behind him before passing under his arms and flowing upwards. It is decorated with incisions and stippled dots, the end is shaped like a fishtail and a kind of heart on the inside. He wears a Kashmiri-style crown with crescent moons – the foliate panels secured with a rod at the back – some princely jewellery inlaid with coral, a sacred thread, an ankle-length dhoti decorated with a stippled motif and held in place with a belt made of large beads. The lobed abdomen is typical of the Kashmir area.
Standing on a cushion over a single-lotus base with incised petals, atop a Kashmiri-style throne supported by snow lions and a yaksha, framed by a flaming mandorla topped with Kirtimukha, White Manjushri holds the stem of a blue lotus topped with a manuscript in his left hand and does the abhaya mudra (fear-allaying gesture) with his right hand. He wears simple jewellery, a sacred thread, a low tiara decorated with side bows, a dhoti shorter on one side revealing prominent knee caps and held in place with a belt. His face has been painted with cold gold and pigments, his hair dyed with lapis lazuli powder and topped with a finial.
This very similar image appears to have been made by the same artist but the facial features are quite different, especially the eyes. The front panel of the crown and the Kirtimukha figure are a different size, his lotus only has four petals and his wears armbands.
Inspired by the Pala Indian style, the artist has depicted Manjushri standing on a small double-lotus pedestal, his hands doing the dharmacakra mudra, a tall lotus stemming from the base and supporting a manuscript to his left. He wears a dhoti longer on one side and held in place with a small festooned belt plus a thin sash loosely knotted low down across the thighs. He has an unusual crown with a crescent moon on the front panel and prominent side bows, some simple jewellery and a long sacred thread. His face is painted with cold gold and pigments, the eyes imitate the Indian silver-inlaid ones.
The tall crown, the rigidity of the legs and the prominent knee cap indicate that this may have been made in Western Tibet, although the stern glance, the sharp nose and the small lips, along with a few other details such as the punched holed for the navel, point to an Indian school.