Krodha Vajrapani

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Yaksha Vajrapani became extremely popular in Gandhara school of Art and is found in many narrative sculptures, where he appears as a Herculean warrior with a double-ended club. The cult of Heracles was well-known in Indo-Greek Bactria and Gandhara. At Ahicchattra, near Mathura in central India, Vajrapani was being rendered in stone sculpture belong to the period circa 1st – 2nd century A.D., in Partnership with Avalokiteshvara attending a Buddha, as the two embodiments of wisdom and compassion. The Avalokiteshvara-Vajrapani partnership continues to develop in the western caves at Ajanta and Ellora. The modification in these representations is that Vajrapani has changed from his Hellenistic Herculean appearance and is depicted as a princely, Indian figure, with the upper torso bare and wearing the dhoti as lower garment. This change in appearance was probably a cultural reinterpretation rather than a change of status. It is obvious that the primary Bodhisattva pair, Avalokiteshvara embodies the compassion while Vajrapani, the power of the Buddha's mind and wisdom. Later on, in circa 6th century A.D. a distinct form of Vajrapani appears with an acolyte, Vajra Anuchara as seen in Nepal and Western Indian caves. It is said that Vajra Anuchara is a hypostasis of Vajrapani, who himself is the embodiment of the heart-mind (Bodhicitta) of all the Tathagatas. He represents Vajrapani, and acts with the authority of Vajrapani, but is not Vajrapani. According to tradition, Shakyamuni called Vajrapani both as Yaksha and Bodhisattva.

Another form of Vajrapani, emerged between 11th – 12th century A.D., is called Krodha (wrathful) Vajrapani and while his symbolism remained the same as other forms, his wrath took on a very literal representation. In this form he has muscular body, tiger-skin skirt, ferocious eyes, and brandishing the vajra as a weapon. His wrathful form was an important part of the Tantric methodologies in the Pala period (c. 750 – 1199) in the eastern India, and was probably taken to Tibet by Atisha or one of his successors. The wrathful Vajrapani displays his rightful indignation at hindrances that impede the practitioner on the path to enlightenment or is directed toward the stupidity of someone who has encountered the Buddha's teaching and who is, even so, too arrogant and prideful to take refuge in the Buddha, Dharma, and the Sangha. Invoked for both protection and purification, a wrathful Vajrapani is also invoked during the Krodhavesha ritual in the Kalachakra practice. For the yogi, Vajrapani is an archetype deity of fierce determination and symbolizes unrelenting effectiveness in the conquest of negativity.

This fierce manifestation of Vajrapani is a powerful portrayal. His wild hair, brows, mustaches, and beard burn with evil-consuming supernova flames, his eyes laser-red in intensity. He wears five-lobbed jeweled crown with flowers and bone tassels. Moreover, he wears flowing silk scarves tiger-skin skirt, jewel and bone ornaments. Vajrapani is brandishing a vajra in his right hand, the Buddhist symbol of the absolute truth, while his left hand holds a noose, which binds the meditator to the highest wisdom. He dances in alidha posture on a lotus throne and there is a flame aureole behind him.

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How are Nepalese copper statues made?

Nepalese statues and sculptures are best known for their unique small religious figures and ritual paraphernalia for over two thousand years. These are mainly cast in copper alloy. Nepal draws influences from the artistic styles of Buddhism and Hinduism, and therefore the sculptors of the country specialize in making the icons of both these religions. Over the years, Nepalese sculptures evolved into their own distinctive iconography. Some characteristic features of these sculptures that differ from other pieces are exaggerated physical postures, youthful and sensual features, languid eyes, wider faces having serene expressions, and ornate flourishes. The Buddhist deity icons of Nepal have tremendous demand in countries such as China and Tibet for ritual purposes in their temples and monasteries.

Nepalese statues and sculptures have a high copper content and therefore develop a slightly reddish patina on the surface as they age. However, the most unique feature of Nepalese copper statues is their decorative detailing. The pieces are heavily gilded and sometimes inlaid with semi-precious stones. This embellishment protects them from getting tarnished. The traditional lost-wax method for casting Nepalese copper statues remains the most practiced technique in Nepal for many centuries. This process involves many steps and requires skilled artists.

The first step in lost-wax sculpting is to make a wax replica of the desired Buddhist deity to be cast in copper. This replica is created by hand and therefore needs excellent artistic skills otherwise fine features will be lacking.

Once the wax replica is made, it is then coated with a special mixture of clay with a brush. This layer of clay is hardened when left to dry. A small hole is made on the base of the wax mould so that the wax flows away when it is heated.

At this stage, a hollow mould in the shape of the deity is obtained.

This is the time to pour liquid copper into the hollow mould which is then allowed to cool and harden inside a container of cold water. When the liquid metal has hardened, the mould is removed and the statue within is revealed.

The artist works on the details of the statue using various tools. It is then polished to get a shiny and lustrous surface.

Now comes the most important part of Nepalese art which is gold gilding. This is done by the traditional fire gilding method. A mixture of mercury and 18K gold is applied on the surface of the statue and heat is applied using a flame torch. The result is that mercury evaporates along with impurities, leaving a pure 24K gold finish.

The lost-wax method of sculpting is the most preferred technique

for artists to cast a metallic statue having intricate details. Since Nepalese copper sculptures require extraneous effort for giving a majestic look by adding special embellishments, it takes several weeks to complete one masterpiece. A 24K gold gilded copper sculpture retains its brilliant luster for many years and appears as like before. Nepalese sculptures continue to remain one of the finest specimens of the art of the East that have a strong aesthetic appeal that other sculptures cannot match.