Vajravarahi, a sow’s head protruding from her right temple, a flaying knife and skull cup in her hands, adorned with a three-skull crown, bone jewellery and a garland of severed heads, a flaming jewel on her chignon, standing on red Kalaratri who embodies ignorance.
16th century, Tibet, Vajravarahi, gilt bronze and turquoise inlay, same as before http://www.aaoarts.com/asie/enchtibet/tibscu108.html.
Undated, Eastern Tibet, (Vajravarahi, gilt metal with turquoise inlay), at the Dzamtang Tsangwa Monastery (Tibet), photo on Himalayan Art Resources https://www.himalayanart.org/items/8510
She is thought to be the oldest form of Vajrayogini and always stands in a dancing pose, facing the viewer. The above is a singular example of her holding a miniature sow in her right hand and an axe in the other.
We have seen quite a few Densatil or Densatil-style sculptures of Vajravarahi standing on a similar pedestal with scrolling vines, her celestial scarf forming a frame around her with loops at elbow level. The above is adorned with a garland of skulls, a skull crown, bone jewellery, cross-belt and apron, the latter with raining jewel pendants.
18th century, Tibet, Vajrayogini (labelled Sarvabuddha Dakini), private collection, photo by Galerie Zacke https://www.zacke.at/de/eintrag/9434/skulpturen-reliefs-himalaya-kulturkreis-die-sarvabuddha-dakini.
Vajrayogini in her Vajradakini form, still facing the viewer but without the sow’s head attached to her own.
In her Sarvabuddha Dakini form, always facing sideways, she raises a skull cup filled with menstrual blood to her lips and stands on one or two victims.
Known as Naro Khechara and various other names in Tibet, Sarvabuddha Dakini always looks sideways. She holds her flaying knife down and raises a skull cup filled with menstrual blood to her lips.