Seated in the vajra position, his hands crossed over his heart in the vitarka mudra, the buddha holds lotuses that support a bell and a thunderbolt (both broken). His chignon is topped with an unusual finial, similar to a 14th century Nepalese-style Vajradhara at the Fondation Alain Bordier (published in a previous post in the Tibetan section)
The hem of his garment is incised with a rice-grain motif similar to that of Khasa Malla works.
On this variant (likely to be the work of a Nepalese artist, although it may have been found in Tibet or made for a Tibetan patron) Vajradhara holds the attributes in his hands. His thin celestial scarf passes around his forearms before splitting in two extremities shaped like jewelled vegetation. The bottom part of his dhoti is arranged under his ankles in a creative and elegant manner. There is a half vajra finial on top of his head.
This is another good example of the early Malla style, with jewelled flowers sprouting from the upturned ends of the celestial scarf, the dhoti elegantly knotted on each side of the waist, the five-leaf crown with a larger panel at the centre and foliate ribbons, two necklaces, two types of ankle ornaments, one them worn high up and matching the armbands, all of them richly inlaid with gemstones. In this particular case, the crown is adorned with large bows shaped like half-flowers. His tear-shaped urna is studded with a gem. He has a square face with a wide forehead typical of the period.
The above figure wears a long dhoti with an incised hem, loosely gathered and covering part of the pedestal.
On this harmonious piece, the artist has used a large amount of stone cabochons to decorate the shorter necklace and the belt. Vajradhara wears a thin scarf over his shoulders, with no fancy extremities. He has no anklets. His dhoti has an unusual crinkle design on the sides and thick pleating under the ankles. The waistband of the garment is marked with a deep incision below the navel.