This 10.5-inch Vajrakilaya Statue presents the wrathful yidam Vajrakilaya, or Dorje Phurba, in yab-yum union with his consort Diptachakra. Handmade in Patan, Nepal from copper alloy using the traditional lost-wax casting method, the sculpture is finished with a deep antiquated oxidized patina that brings out the layered relief of the figures, ritual ornaments, wings, flame aureole and lotus throne. The removable aureole raises the complete composition to 10.5 inches, while the central sculpture measures 9.25 inches without it. The photographs also confirm that the consort is removable, allowing the piece to be viewed either as the complete yab-yum assembly or as Vajrakilaya alone.
Vajrakilaya Statue Iconography
Vajrakilaya appears in his characteristic three-faced, six-armed and four-legged form. His three wrathful faces rise beneath a crown of dried skulls, with the central face looking forward and the lateral faces turned outward. Flame-like hair rises behind the heads, while large feathered wings extend across the back of the composition. The two principal hands meet at the heart around the kila, or phurba, the three-sided ritual peg that gives the deity his Tibetan name Dorje Phurba, “Vajra Peg.” In Vajrayana symbolism, the kila represents unwavering enlightened activity that pins down and transforms obstructive forces rather than ordinary violence. Its triangular form is traditionally associated with overcoming fundamental sources of delusion, including ignorance, attachment and aversion.
Vajrakilaya and Diptachakra in Yab-Yum
The removable consort is Diptachakra, Sanskrit for “Flaming Wheel,” known in Tibetan as Khorlo Gyendepma. She embraces Vajrakilaya in yab-yum, the tantric union of wisdom and skillful means. The photographs clearly show her as a separately cast figure that fits into the central composition, an unusual practical feature that also permits a solitary Vajrakilaya presentation. Both figures are surrounded by the sculpted flames of awakened awareness. Beneath Vajrakilaya’s four feet are subdued figures representing forces brought under enlightened control. The rich dark surface, selective warm copper highlights and deeply modeled flame forms give this piece the visual character of an older monastery sculpture while retaining the precise details of a newly handmade image.
Vajrakilaya Statue and Vajrasattva | Peaceful and Wrathful Forms
This Vajrakilaya Statue forms an especially meaningful doctrinal and visual pairing with our antiquated Vajrasattva statue. Within the Nyingma Kagyé tradition, Vajrasattva represents the peaceful manifestation of enlightened purity, while Vajrakilaya is understood as its extremely wrathful expression, directing awakened activity toward the forceful removal of obstacles and obscurations.
The relationship therefore extends far beyond their contrasting appearances. Vajrasattva practice emphasizes purification of negative karma, obscurations and damaged samaya, while Vajrakilaya manifests that same enlightened nature as uncompromising activity capable of subduing the inner and outer conditions that obstruct realization. Displayed together, the statues present two complementary dimensions of Vajrayana practice: peaceful purification and wrathful obstacle-clearing activity arising from the same awakened ground.
They are also an exceptionally harmonious aesthetic pairing. Both sculptures are handmade from copper alloy with antiquated oxidized finishes, creating closely related dark bronze-toned patinas and restrained highlights. Their similar scale, traditional Newar craftsmanship and subdued surfaces allow the serene seated form of Vajrasattva to balance the dynamic multi-armed Vajrakilaya composition without either statue visually overpowering the other. Together they create a particularly coherent altar pairing in both Buddhist symbolism and Himalayan artistic presentation.
Antiquated Copper Craftsmanship and Optional Adornments
The sculpture was cast in copper alloy by the lost-wax method, a process well suited to the dense, multi-layered architecture of Vajrakilaya imagery. Close inspection of the photographs shows fine treatment of the feathered wings, skull crown, jewelry, garments, flame aureole and lotus petals around the base. The antiquated oxidized finish settles naturally into recessed details and leaves warmer highlights on raised surfaces, producing visual depth without gold gilding. At the buyer’s request, selected crown and jewelry settings may also be adorned with turquoise and red coral gemstones before shipment where the structure of the statue permits. These optional traditional Himalayan accents can add restrained color while preserving the strong character of the antiquated finish.
Filling and Consecration in Kathmandu, Nepal
For practitioners intending to install the statue on an active shrine, we can arrange traditional statue filling, blessing and consecration in Kathmandu, Nepal before international shipment. Sacred substances and appropriate materials can be placed within the hollow interior before the statue is sealed and presented for blessing according to Tibetan Buddhist custom. Because this preparation must be completed before dispatch, please request filling and consecration before the statue leaves Nepal.
Custom Vajrakilaya Statue Commissions
Collectors, practitioners and Dharma centers seeking another scale, finish or presentation may also commission a custom Tibetan Buddhist statue through our artisan network in Nepal. A custom Vajrakilaya can be planned around specific dimensions, an antiquated or gold-gilded finish, removable components, painted details and traditional gemstone adornments while maintaining the deity’s required iconography. Each commission is handmade in copper alloy by the lost-wax method, allowing the finished image to be created for a particular altar, lineage setting or practice environment.
Authentic, Handmade in Nepal
Every statue is handcrafted in Patan, Nepal, using traditional lost wax casting and comes with a certificate of authenticity issued by Nepal’s Department of Archaeology, verifying its materials, technique, and origin.
