17th century, Mongolia, Magzor Gyalmo, bronze (brass), private collection, photo by Christie’s.
The crescent moon in her headdress and the sun disc over her navel identify this deity as Magzor Gyalmo, the wrathful aspect of Sarasvati, whose appearance is similar to that of Palden Lhamo but she only has two hands. She sits sideways on a khiang or a mule, using her son’s hide as a saddle and wears a skull crown, a garland of severed heads, a tiger skin loin cloth, bone and snake ornaments. In her right hand she wields a (missing) vajra-tipped staff and in the other hand she holds a skull cup filled with magic substances or blood and a mustard seed.
18th century, Mongolia, Magzor Gyalmo (labelled Lhamo), parcel-gilt brass (copper alloy), private collection, photo by Hanhai auction.
The same distinctive features and the vajra-tipped staff make this figure likely to be Magzor Gyalmo, riding across a sea of blood.
18th century, Mongolia, Palden Lhamo, at the Jacques Marchais Museum of Art
This image was published in a previous post and thought to possibly depict Magzor Gyalmo because of the attributes in her two hands, and because Palden Lhamo has four hands. However, she is normally accompanied by Makaravaktra, who leads her mule, and Simhavaktra who walks behind, and she doesn’t have a crescent moon in her headdress or a sun disc on her navel. The above seems to be, therefore, a mixture of the two.
18th century, Mongolia, Makaravaktra (labelled Makaramukha), gilt copper alloy, private collection, photo by Sotheby’s.
Unlike the dakini Makaramukha, who wears a skull crown and stands on one foot, Makaravaktra, the makara-faced attendant to Palden Lhamo, stands on both feet and doesn’t wear a skull crown. Her right arm is raised to hold the bridle of Palden Lhamo’s mount, the left hand is held against her heart.
19th century, Mongolia, Rishamukha, silver with turquoise and coral inlay, private collection, photo by Bonhams.
A late but rare and well-crafted sculpture of this bear-headed dakini, blending Tibetan features such as the use of silver with turquoise and coral inlay with Chinese-style accessories, like the celestial scarf with very sharp bends and the dharma wheel breast plate with pendants.