How to Differentiate Vajradhara and Vajrasattva in Oxidized Copper Statues

Within the rich and symbolic world of Himalayan Buddhism, few figures compel the hearts of practitioners, collectors, and novices alike like Vajrasattva and Vajradhara. While these two luminous beings are intimately related, the challenge in recognizing them, particularly identifying oxidized copper statues, entails a closer look with intention.

If we analyze them closely, they may seem similar- regal thrones, noble seated postures, crowned heads holding the sacred vajra and bell. But with greater depth of understanding, their nuances will liberate their distinctive energies and meanings for you. As you consider a statue for personal practice, a private collection, or simply starting on the path of Buddhist art, the ability to differentiate between Vajrasattva and Vajradhara will immensely enrich your experience.

In the guide, we will unpack their iconography, presentations, roles, and energies, allowing you to detect the important distinctions between the two, so that you can choose the appropriate figure for your practice, collection, or spiritual insight.

Why Oxidized Copper Statues: A Traditional Choice for Sacred Art

In analyzing the differences between Vajradhara and Vajrasattva, it is worth considering the base material from which their statues are formed, copper. 

Copper has been the main metal in the manufacture of Buddhist statues for centuries. The ductile and workable features of copper allow for intricate patterns along with porosity to accommodate darkening, patina, and adding an overall depth to the metal sculpture undertaken with bronze. The copper also enhances the energy of the deity, conveying a sense of purity and clarity present in tantric expressions. Statues made of copper uniquely resonate with practitioners of Buddhism and are a functioning medium of meditation and spiritual connection.

Oxidized Copper is also recognized for its unique spiritual environment - its grounding energy and conductive properties aid in channeling cosmic wisdom encapsulated in the statues. That is why the oxidized copper statues of Vajradhara and Vajrasattva are so well thought of.

Who Is Vajradhara?

Vajradhara — "Holder of the Vajra" — is the primordial Buddha, the timeless element, the source of all Buddhas, and all the tantras' teachings. In esoteric Tibetan Buddhism, especially the Kagyu and Gelug schools, he represents the final truth: the inseparability of wisdom and compassion, and he is free from all conceptual constructs.

His deep blue color (in paintings and murals) symbolizes the infinite space, clarity, and mind. He is not just another Buddha, among many; he is the source of all Tantras, and he is at the heart of the secret teachings of Vajrayana. 

A Vajradhara statue in oxidized copper radiates deep stillness. He sits heavily, with silence, wisdom, and the experience of the universe wrapped up in royal ornaments.

When practitioners think of Vajradhara, their thinking should not be of "getting better", but of the realization that they are perfect, that the true nature of mind is Vajradhara, himself. Vajradhara:

• He is typically depicted in deep blue color, representing limitless space and awareness.

• He wears a crown of five leaves to represent the Five Dhyani Buddhas.

• Is holding the vajra (thunderbolt) and ghanta (bell), and is tightly crossed over the chest in Vajrahunkara mudra.

• He is adorned with rich silken scarves, as well as jewelry and robes flowing from the body.

• Has an expression that is at times powerful and transcendent, often simulating a non-dual expression.

Who Is Vajrasattva?

Vajrasattva, meaning "Diamond Being," emanates from the more compassionate aspect of Vajradhara. While his counterpart, Vajradhara, remains in the ultimate and formless state, Vajrasattva enters into our relative world to help sentient beings purify their obscurations. He is the main deity for purification practices: the purification of negative karma, the mental afflictions, and habitual patterns of thoughts that obscure our luminous mind. In the essential preliminary practices or Ngöndro, Vajrasattva is there, over and over again, as a visualized form and through mantra. 

Vajrasattva's form is pure, brilliant white and radiant, a manifestation of purity and potential in every being. The oxidized copper statue would feel lighter and more approachable than if it were gold or bronze, like he is a deity friend reaching down from a higher realm of brightness and luminosity to cleanse and purify your being. He is iconographically portrayed as: 

• Depicted in a brilliant white, representing purity and the supreme power of purification. 

• Holds similar regalia, a crown, earrings, necklaces, and silks. 

• Holds the vajra upright in the right hand at his heart center, and the bell rests lightly on his left thigh. 

• Vajrasattva's expression is more gentle, compassionate, and approachable. He might have a softness about his youth. 

The Living Roles of Vajradhara and Vajrasattva in Tibetan Buddhism

Recognizing and eventually these first two deities in Buddhism, both visually and in energy, is the next step after understanding their functions.

Buddhas do not always exist, but even if we want to say Vajradhara is another type of Buddha, he is not just a Buddha; he is the Primordial Buddha, and that means he represents the awakened nature itself, and the source of all tantric transmissions. Vajradhara represents the utmost Dharmakaya, or "truth body," of enlightenment — the wisdom that all thoughts and other conceptual elaborations have dissolved into the awareness that is unqualified and formless.

Vajradhara is not the thing we become; he is the thing we express when all obscurations have fallen away. Vajradhara is the ultimate realization: unconditioned, unchanging, and infinite.

Vajrasattva, while also profound, serves a different, and incredibly important, role. He is the Bodhisattva of purification and re-installment. Through the Vajrayana path, Vajrasattva acts as the compassionate reflection to let us know that no matter how lost we are, there is always a way to purify our minds to return to clear seeing.

Before practicing any higher tantric teachings, it is typical for practitioners to do a lot of Vajrasattva purification — often reciting his mantra hundreds of thousands of times — to cleanse away the karmic residue that would contaminate or cloud true realization. Thus, Vajrasattva is the portal, the great purifier, and prepares students to witness/experience Vajradhara's true nature.

In this regard, the two beings are not interchangeable. They refer to two aspects of the same long journey: purification and realization.

Key Differences in Solo Oxidized Copper Statues

While Vajradhara and Vajrasattva are both kings, possessing crowns, jewels, and meditating, there are some small yet important iconographic details that allow us to differentiate between them (although significant details are primarily aimed at serious practitioners and collectors).

Hand Gestures (Mudras)

• Vajradhara: The most notable aspect of his posture is that the vajra and bell are crossed tightly at the heart in the Vajrahunkara mudra - the right hand holds the vajra, the left includes the bell, and the two are fused at the heart center; indicating that method (skillful means) and wisdom (emptiness) are inseparable.

• Vajrasattva: The right hand holds the vajra upright at the chest level slightly above, while the left hand holds the bell resting on the left thigh or hip, or relaxed and as its resting place, and ready to settle slightly away from the body. This separateness indicates an active engagement with the world, purifying beings while holding primordial awareness.
  

Posture and Expression

• Vajradhara: His body is erect and firm, and he may often have a profound gaze usually downwards, indicating a mind abiding in dharmadhatu—the dimension of ultimate truth.
  

• Vajrasattva: His posture is more relaxed and welcoming, sometimes with a slight smile. His gaze is often direct, reaching out to beings in a way that inspires upliftment and release from suffering.
  

Ornaments and Crowns

Both deities wear the five-pointed Bodhisattva crown (often with jeweled embellishment) and wear silken clothes and jewelry that vary with the artistic representation.

In our exquisitely crafted oxidized copper statues, you can sometimes see Vajrasattva's vibrant, youthful, almost princely elegance, whereas Vajradhara’s has a more ageless, transcendental look.

Differences in Yab-Yum Statues

In Tibetan Buddhist art, the yab-yum ("father-mother") imagery depicts the integration of compassion and wisdom, a dynamic interplay that can result in enlightenment. Both Vajradhara and Vajrasattva are depicted in this position with their consorts, though Vajradhara and Vajrasattva have decidedly different energies, symbolism, and teachings reflected in their statues.

In the instances of Vajradhara depicted in yab-yum, he will retain the imagery of the Vajrahunkara mudra aspect, holding the vajra and bell firmly directly over his heart, even in union with his consort. This reinforces the idea that the ultimate reality remains the same and beyond all dualistic elaborations, even in the closest union. Vajradhara in yab-yum is still, monumental, and cosmic — it is the image of the immutable, infinite truth that is unaffected and unchanged by anything in existence.

In contrast, Vajrasattva’s yab-yum sculptures present a different flavor of enlightened activity. Their embrace with the consort appears to be more fluid, tender, and dynamic. While keeping the vajra and bell steady at the heart, Vajrasattva holds the vajra around his consort, symbolizing the active blessing and purification offered to all sentient beings. The bell, resting softly below, reminds us of the all-pervasive wisdom that gives support to compassionate action. The feeling evoked by Vajrasattva yab-yum statues is of flowing transformative energy — a healing force, an action of love, devotion, and realization.

After contemplating these statues for a while, one can feel the energetic difference:

• Vajradhara’s yab-yum statues emanate an expansive cosmic vastness, an unshakable stillness, where union and non-duality are the unmistakable end state.
  

• Vajrasattva’s yab-yum statues, meanwhile, give off active compassion, as a gentle and powerful current of purification and renewal.
  

Although the "mood" might be subtle, it is also unmistakable. And learning to subtly perceive the "mood" allows for an appreciation not just for the art, but for the generative teachings that exist for each of these forms.

How to Properly Care for an Oxidized Copper Statue

If you want to make your oxidized copper statues less interesting and valuable to generations to come, it is really important that they not be vandalized or threatened. Because of the distinctive patina quality and designer details in sculptures, they and other art need our care and attention, especially to prevent them from being tipped over and wrecked, like some previous natural forms. It really doesn't matter if the murals are painted on the outside of a house or the wall of a great hall; ongoing maintenance of the visual quality and value of it, and of the historical value and quality, depends on careful maintenance.

1. Steer clear of over-cleaning: Patina is a material's skin, so avoid scrubbing it or using high-pressure water. Use a gentle brush or some sort of cloth to remove your sculptures.
2. Protect against Harsh Environments: Although patinas are very resilient, exposure to pollutants or harsh weather can alter the object's overall appearance. For unofficial market exhibits, indoor storage in cubicles or even open areas covered by tents or shade should be adequate.
3. Apply a small layer of wax: Because wax functions as armor in front of the metal piece, it will help protect the patina from moisture and grime. Wax must be used on metallic surfaces.
4. Keep an eye out for corrosion: To find out if the rust spots extend past the patina, check your statues and other sculptures more often. If they are discovered, a qualified conservator should restore them.

Symbolic Placement in Shrines

If you are seeking a greater connection to your deity, you can create your own personal shrine and put your statue or thangka at the center of your shrine:

• Place Vajrasattva or Vajradhara in the center, preferably on a slightly higher pedestal than the other objects. 

• Surround them with manuscripts, bowls for offerings, texts, and images of teachings. 

• Making daily offerings, bowing, or reciting mantras will take your shrine from being an inanimate object to being a living mandala of blessings. 

Eventually, your shrine will not only beautify your home but will also alter your mindstream just a little bit at a time.

Conclusion: Seeing with the Heart

Understanding the very quiet, yet significant differences between Vajradhara and Vajrasattva statues is more than just recognition; it involves a more personal relationship with the nature of wisdom symbolized by these entities. Vajradhara represents all Buddhas' timeless or primordial essence, or reality, the ultimate realization of non-duality and emptiness. Their statues with the vajra crossed posture represent the ultimate reality that cannot be shaken from its ground.

Vajrasattva represents our essential means for purification, and whose gentle compassion is displayed by holding the vajra upright and bell upon his leg, offers that realization must be declared only after karmic obscurations and habitual tendencies are sufficiently cleansed first. 

For practitioners, the nuances of these intentions refine visualization practice and enhance meditation; for collections, they may ensure appreciation and protection of true iconography; and for those exploring meaning, provide the entry point to the deeper meanings which are always found behind every sacred form. 

Regardless of your attraction to either a Vajradhara representation of all, including the all-encompassing stillness of ultimate reality, or a Vajrasattva representation that allows purification of self through grace, each statue is important and a living reminder of inner transformation, and potentially, the foundation of oneself. Respect, study, and devotion to the sacred form can awaken the heart to innumerable realizations, as has happened to a host of masters over the continued practice of dispense.