Page 161 - Christie's Asian Art Auctions PARIS December 2019

The Sanskrit word vajra or dorje in Tibetan is used both for the Vajrayana form of Buddhism as their state religion. As consequence
thunderbolt weapon of the ancient Vedic god Indra and the diamond, ritual implements, sculptures and paintings were introduced in China
as symbol for its indestructible character. Due to its adamantine and adapted to their own taste. This can be well gleaned from the
nature the vajra was chosen to stand for the fnal system of Buddhist presented rare vajra. Its centre is showing peony fowers fanked
thought, better known as Vajrayana. Buddha is also seated in the to both sides by each four heads, symbolizing together the eight
vajrasana or diamond posture. Since then it has remained the symbol guardians of the Buddhist faith. The latter heads are cast alternating
par excellence of this esoteric school of religion. It is in fact one of with a ferocious facial expression topped by faming hair-dresses and
the most important obligatory implements for rituals. Further, one a more friendly expression continuing in chignons. It is interesting
can observe the vajra in the hands of protective gods as weapon that a ferocious face is placed opposite a friendly one symbolizing
of destruction of both internal and external enemies. As divine the transcending of duality. All faces seem to be based on examples
attribute it is used in worship by lama’s. During specifc rituals of the Chinese Song style. The eight curved prongs standing for the
the vajra is combined with the priest-bell or ghanta symbolizing eight wind-directions are delicately modelled in the form of phoenixes
respectively compassion and wisdom or ’means’ and ‘insight’. Thus which tails are issuing gui-dragons chasing the pearl-fnial placed
the use of the two together stand for transcending duality resulting in on a lotus-fower, all stemming from a long-standing Confucianist
enlightenment, the ultimate goal of every Buddhist student. tradition.
The extremely fne and complicated casting of the presented vajra Very few similar vajras are recorded, all of the same size. One is
in various sections and then joined together is a tour de force of published in Hugo Kreijger, Godenbeelden uit Tibet, SDU Uitgeverij,
Chinese craftsmanship. It combines the original Indic iconography The Hague 1989, p. 121. Another one is discussed by Marcel Nies in
transmitted to Tibet with Chinese symbols and design. It was during Immortal Image, Antwerp 2001, pp. 34 and 35.
the Yuan period (1279-1368 AD) that their rulers took over this

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