CHINE, DYNASTIE YUAN, XIVEME SIECLE La partie centrale est finement ornée de quatre pivoines épanouies, les deux c?tés flanqués par quatre têtes alternant des expressions féroces et méditatives, symbolisant ainsi les huit gardiens de la foi bouddhique. Les extrêmités sont à décor ajouré, formées par huit piliers constitués d'un phénix et d'un dragon, le pillier central est rehaussé du neuvième dragon à quatre griffes au corps noueux, les deux prises en forme de perle sacrée émergeant d'une fl de lotus. Longu: 26,5 cm. (10 ? in.)
The Sanskrit word vajra or dorje in Tibetan is used both for the thunderbolt weapon of the ancient Vedic god Indra and the diamond, as symbol for its indestructible character. Due to its adamantine nature the vajra was chosen to stand for the final system of Buddhist thought, better known as Vajrayana. Buddha is also seated in the vajrasana or diamond posture. Since then it has remained the symbol par excellence of this esoteric school of religion. It is in fact one of the most important obligatory implements for rituals. Further, one can observe the vajra in the hands of protective gods as weapon of destruction of both internal and external enemies. As divine attribute it is used in worship by lama’s. During specific rituals the vajra is combined with the priest-bell or ghanta symbolizing respectively compassion and wisdom or ’means’ and ‘insight’. Thus the use of the two together stand for transcending duality resulting in enlightenment, the ultimate goal of every Buddhist student.
The extremely fine and complicated casting of the presented vajra in various sections and then joined together is a tour de force of Chinese craftsmanship. It combines the original Indic iconography transmitted to Tibet with Chinese symbols and design. It was during the Yuan period (1279-1368 AD) that their rulers took over this Vajrayana form of Buddhism as their state religion. As consequence ritual implements, sculptures and paintings were introduced in China and adapted to their own taste. This can be well gleaned from the presented rare vajra. Its centre is showing peony flowers flanked to both sides by each four heads, symbolizing together the eight guardians of the Buddhist faith. The latter heads are cast alternating with a ferocious facial expression topped by flaming hair-dresses and a more friendly expression continuing in chignons. It is interesting that a ferocious face is placed opposite a friendly one symbolizing the transcending of duality. All faces seem to be based on examples of the Chinese Song style. The eight curved prongs standing for the eight wind-directions are delicately modelled in the form of phoenixes which tails are issuing kui dragons chasing the pearl-finial placed on a lotus-flower, all stemming from a long-standing Confucianist tradition.
Very few similar vajras are recorded, all of the same size. One is published in Hugo Kreijger, Godenbeelden uit Tibet, SDU Uitgeverij, The Hague 1989, p. 121. Another one is discussed by Marcel Nies in Immortal Image, Antwerp 2001, pp. 34 and 35.