Manjushri stands on a double-lotus base with wide pointed petals, holding a manuscript in his left hand, adorned with jewellery including snake armbands, floral earrings and a matching necklace, dressed in a long dhoti held in place with a belt with a pendant in the middle. He wears a sacred thread and a small sash across the thighs, knotted on one side. The folds of his dhoti form a zigzag shape at the front. But for a few long strands over his shoulders, the hair is tied into a fan shape (as on earlier Gandharan sculptures, but with a foliate design) and adorned with a low tiara.
There is a number of similar Nepalese sculptures made of copper or a dark copper alloy that depict Manjushri seated in the vajra position, wearing a tall three-leaf crown with ornate panels, a sash across the chest, foliate armbands, bracelets, earrings and a necklace. This style has also been used by Nepalese artists in Tibet (several works portrait him with one leg unfolded) and for dyani buddhas. In this case, Manjushri is identified through the three-tooth pendant and the manuscript he holds in his hands.
Eventually the crown evolved and the panels were no longer going inwards. The above is seated on a throne supported by two snow lions. There is a manuscript in his hands.
This is a another style, with a different crown and matching jewellery, a sacred thread, no sash. He sits on a thick cushion decorated with an incised floral pattern, his right foot resting on a lotus, his hands doing the dharmacakra mudra. Although there is no book in his left hand, the fact that he has one leg unfolded indicates that this is likely to be Manjushri rather than Vairocana.
White Manjushri holds his right hand in the abhaya mudra (fear-allaying gesture), his left hand casually resting on the double-lotus base with very wide pointed petals arranged in alternate rows. There is a manuscript atop a long-stemmed lotus to his left. His ankle-length dhoti is richly decorated with an incised motif and held in place with a belt inlaid with a gem. His face has been painted with cold gold and his hair (which he wears tied in a bunch and adorned with a gold finial and a lotus chain) has been dyed with lapis lazuli powder, which suggests the sculpture has been worshipped in Tibet at some stage.
On this rare silver sculpture, Manjushri holds the stem of a blue lotus in his left hand and a small manuscript in the palm of his right hand. We will notice that the fingers and the toes are clearly separated, as on later Khasa Malla sculptures from Nepal.
He has moon-like facial features that recall Tibetan works, large round earrings and a necklace with a central three-tooth pendant, a floral hair adornment.
Traditionally, in Nepal and Tibet Manjushri wears part of his hair tied into a bunch and the rest fastened like two ponytails.