This is an early form of White Manjushri, seated with his legs locked, his right hand held palm out, his left hand holding the Prajnaparamita sutra (or sometimes a conch shell) before him.
A rare sculpture of him holding the stem of an utpala topped with a manuscript, and holding another manuscript in his right hand, held down with the palm facing upwards.
14th century, Tibet, Nepalese artist, Manjushri, gilt copper, private collection, photo by Marcel Nies https://issuu.com/satelitcommunications/docs/the-path-to-enlightenment/48.This time the hand is held with the palm downwards. The position of the fingers indicates that they once clutched an attribute, probably a book judging by the gap and the height at which the hand is held.
From the 13th century onwards, White Manjushri is often flanked by lotuses supporting a book to his left and the hilt of a sword to his right, his hands doing the ‘turning the wheel of dharma‘ gesture.
Manjushri with flaming sword, seated with his legs locked, his left hand doing the teaching gesture, a blue lotus fastened to his arm to support the book.
Manjushri with sword, standing and holding the stem of a lotus that supports a book topped with a flaming triple gem (triratna).
A late work, showing him sword in hand, the lotus that supports the book missing or not featured.
14th-15th century, Tibet, Manjushri, Namasangiti, stone, private collection, photo by Christie’s http://en.51bidlive.com/PreView/PreViewDetails/1465409.
The Manjuvajra form of Manjushri may have one head and four arms, in which case he often holds a bow and an arrow, a sword, and a manuscript at heart level. In Tibet, he may hold a lotus that supports the book, as on the first two images.
This form of Manjushri has no book. He sits on a snow lion, in the vajra position or with one leg pendent (as above), his hands doing the ‘turning the wheel of dharma‘ gesture. He may have a lotus to his left, with or without the hilt of a sword, and often has an effigy of Akshobhya in his crown (not shown here). On paintings, his body his golden yellow, hence the use of cold gold all over his skin.
We have seen time and time again that late sculptures often depart from standard iconography. The rosary in this character’s top right hand and the gesture of salutation with his main hands are associated with a four-hand form of Avalokiteshvara, yet Manjushri is the only male bodhisattva who may hold a manuscript in one of his hands (Akashagarbha may have one on his left shoulder).