14th century, Tibet, Vajravarahi, gilt copper alloy with stone (and coral) inlay, private collection, photo by Bnohams.
Almost identical to a 14th century Tibetan sculpture published previously, Vajravarahi is identified through the sow’s head sticking out of her right temple. On this occasion, her earrings are inlaid with coral cabochons and her shorter necklace is studded with turquoise.
Same as before, photo by Christie’s.
The deity’s celestial scarf often forms a frame around her. She wears a five-skull crown, a garland of fifty freshly severed heads and bone ornaments, and holds a flaying knife, a skull cup, and a ritual staff in the crook of her left arm.
15th century, Central Tibet, Vajravarahi, copper alloy and pigments, at the Art Institute of Chicago (USA).
This dark bronze shows her with cold gold on the face and red pigment on the hair, her raised knee resting against a lotus stemming from the base on which there is no victim. Her belt is incised with a geometrical motif, the contours of the festoons and pendants are engraved rather than sculpted. The same technique has been applied to the seams of her lower garment.
Same, stone, private collection, published on Himalayan Art Resources.
A stone version, complete with flaming arch and lotus base, her left foot treading on Kalaratri, which represents the ego.
16th century, Tibet, Vajravarahi, bronze (copper alloy), private collection, photo by Werner Forman, formerly Philip Goldman collection, published on Werner Forman Archive.
On this work, the artist has used silver inlay for the rim of her crown, her hair ornament, belt, bracelets and anklets, and probably for her eyes and teeth.
17th century, Tibet, Vajravarahi, bronze (gilt copper alloy), same as before.