The following sculptures are at the Lamayuru monastery temple (Senge Lakhang), which was built around the 11th century. Unless otherwise stated the photos are by Kishore Tukral, published on Eva Lee Studio
Undated (circa 11th century?), Ladakh, Lamayuru, Senge Lakhang, main altar with Vairocana and the four direction wisdom buddhas, painted clay.
The age of the sculptures is unknown, some of them appear to have been repainted recently. They display Chinese-style draping (ample dhoti with soft pleating, large shawl that covers the arms) associated with the 15th-16th century onwards.
Detail of, Amitabha/Amitayus, with a red body, both hands in the meditation gesture.
Detail of Akshobhya, with a blue body, calling Earth to witness.
An inner and an outer flaming halo is sculpted around the buddhas.
Detail of Amoghasiddhi, with a green body, dispelling fear with his right hand.
Detail of Ratnasambhava, with a yellow body, his right hand palm out.
Detail of the lion throne below Ratnasambhava.
Detail of the garuda at the top of Vairocana’s throne.
Lamayuru, (Mahakala, clad in a tiger skin loin cloth, seated on a human victim), painted clay, photo on Christian Luczanits
Lamayuru, (Palden Lhamo, clad in a leopard skin loin cloth, seated on her kiang), same as before.
Lamayuru, tutelary deity (seated on a snow lion), photo by Christian Luczanits here
Undated, Ladakh, Lamayuru, Mahakala, Palden Lhamo, tutelary deity, after being repainted, photo by Kishore Tukral, 2013 on Eva Lee.
Lamayuru, undated, Naropa cave, Naropa, possibly Taktsang Repa and Milarepa, (painted clay or wood?), photo credits unknown (Kishore Thukral or Eva Lee?) on Eva Lee
Naropa, at the back, is seated on a tiger or leopard skin and holds a skull cup in his left hand. The unidentified lama is seated on a tiger or leopard skin and holds a skull cup in his right hand. Milarepa is next to him. If this is Taktsang Repa Ngawang Gyatso, he lived from 1574 to 1651, which situates these three sculptures around the 17th century at the earliest. Considering that the temple was destroyed at the beginning of the 19th century then rebuilt, these and the following may have been commissioned for the occasion (or later).
Undated, Lamayuru, prayer hall, Maitreya, same as before.
Maitreya does the ‘turning the wheel of the Law’ gesture with his hands.
Undated, Lamayuru, prayer hall, White Tara, same as before.
White Tara, with a third eye on her forehead and an eye in the palm of her hands and the sole of her feet, displaying the gesture of supreme generosity with her right hand and bestowing refuge with the other.
Undated, Lamayuru, prayer hall, Amitayus, same as before.
Amitayus holds a long-life vase in both hands.
Undated, Lamayuru reliquary temple, Vajradhara, same as before .
Vajradhara holds a vajra sceptre and a vajra bell in his hands crossed over his heart.
According to the Achi Association the temple at Kanji and the paintings inside it are approximately 700 years old. Unfortunately, there is no information as to the age of the sculptures (see https://www.achiassociation.org/fileadmin/Downloads/Flyer-AA-2016.pdf).
Undated (14th century or later), Ladakh, Kanji gompa altar, painted clay, before latest restoration, photo here
Avalokiteshvara, flanked by Green Tara on his left and the main medicine buddha on his right.
Ladakh, Kanji temple, altar, Avalokiteshvara, photo on Silk Road.
Avalokiteshvara appears in his popular Shadakshari Lokeshvara form, with rosary and lotus in his upper hands. The arch painted on the wall behind him deity depicts birds and kinnaras on each side and a garuda holding a snake in its beak and hands at the top.
Ladakh, Kanji temple, altar, Medicine Buddha, photo on Silk Road.
Bhaisajyaguru is identified by his blue body and the way his right thumb and forefinger are folded to hold an arura fruit while his left hand does the meditation gesture.
Ladakh, Kanji temple, altar, Green Tara, painted clay, photo on Silk Road.
The gesture to bestow refuge with her left hand is usually associated with White Tara. Instead of displaying supreme generosity with the other hand, she does a similar gesture but upside down.