15th-16th century, Tibet, Mahasiddha Catrapa, bronze (copper alloy), at the Power House Museum in Sydney (Australia).
Adorned with large hoops and floral jewellery (an anti-caste symbol), the great tantric practitioner Catrapa is identified by the manuscript in his left hand. His right hand does the teaching gesture.
Undated, Siddha Dombi Heruka, Tibet, metal, at the Capital Museum in Beijing (China).
Mahasiddha Dompi Heruka, formerly King Cakravarman (Kashmir, 10th century AD), rides a pregnant tigress and is normally accompanied by his consort. He wears bone jewellery and has a skull in his headdress.
His attributes are a snake held like a lasso and a skull cup.
The above also wears snakes around his ankles and a dhoti incised with a floral motif. An inscription on the base bears his name.
Undated, Tibet, Mahasiddha Luipa, wood, at the Los Angeles County Museum of Art (USA).
Luipa, Master of Secrets, is identified by the fish gut he is eating. He sits on a deer skin over a thick cushion, a female attendant to his left, a large fish to his right.
Undated (15th-16th century), Central Tibet, Tsang, Mahasiddha Naropa, private collection, published on Himalayan Art Resources.
Naropa often holds a human hide stretched across hiss back.
Undated (circa 15th century), Central Tibet, Tsang district, Mahasiddha Virupa, copper alloy, private collection, published on Himalayan Art Resources.
Virupa may be depicted with various hand positions. This standard image shows him leaning on one hand while pointing to the Sun with the other, his head facing the viewer.
18th century, Tibet, Mahasiddha Virupa, gilt copper alloy, at the Honolulu Museum of Art (Haiwai).
He usually sits at ease on a animal skin. On this example, the head of the animal is placed to his right, as is often the case with later sculptures.
Undated, Mahasiddha Virupa, copper alloy, private collection, photo by Moke Mokotoff, published on Himalayan Art Resources.
A rare work, with his face sideways. He sits on an antelope skin and wears a meditation strap, floral jewellery and a garland of flowers. There is a skull cup in his left hand.
Undated (circa 16th century), Central Tibet, Tsang, Mahasiddha Virupa, private collection, published on Himalayan Art Resources.
On occasions his hands do the ‘turning the wheel of dharma‘ gesture. The above lotus base has an unusual top row of incised petals with three lobes, plus a standard row of plump elongated petals, thick beading and a plinth with a Tibetan inscription on it.
Late 16th or early 17th century, Central Tibet, Tsang, Mahasiddha, silver with turquoise inlay, at the Nelson Atkins Museum in Kansas City (USA).
This unidentified Indian adept is adorned with a five-skull crown, bone jewellery, a bone cross-belt with pendants, a celestial scarf forming a frame around his head and shoulders. The right hand does a pointing gesture, the gesture of the left hand is used to bestow patience (tip of the middle finger against the tip of the thumb).