The Buddhist god Acala (The Immovable) is invoked to clear obstacles on the path to an enlightened state. In each hand the awesome deity holds the tools of his trade: the sword (the blade now missing) that cuts through the veil of ignorance, and the vajra noose that ensnares demon spirits. Bloodshot eyes glaring in opposing directions, and the mouth fixed in a snarling expression, confirm his fearsome intent.

Refined casting and the intricate use of silver, copper and jewelled embellishment define the last great period of eastern Indian metal sculpture. This animated image was made in the ateliers of the Pala patrons not long before the area was overrun by Muslim invasions in the twelfth century.1 Destruction or disfigurement of icons such as this Acala was widespread. The art form, however, had become an inspiration to the burgeoning Tibetan Buddhist community, particularly of south-central Tibet, thereby insuring the survival of a large number of Indian metal images in their monastery collections, and in turn establishing their enduring love for colourful mixed metal sculpture. This figure of Acala may not have made it to Tibet at that time—its surface, pitted from the corrosive effects of burial, would suggest a more recent excavation in its native land—but numerous examples in fine condition remain there still.2 Notwithstanding losses and a corroded surface, the sculpture exudes a sense of power and menace through the contorted kneeling posture and aggressive expression. The fabulously decorative silver and copper embellishments—gleaming silver-white teeth, copper-red bloodshot eyes, silver-white pearl necklace—would have been further enhanced by a vibrant array of gems in the now empty jewellery settings.3

1 Compare an eleventh-century Mandala of Vajratara discovered at Patharghata, Bengal; see Ray, Khandalavala & Gorakshar, 1986, pl. 281.

2 For example, another eastern Indian Pala period Acala with silver and copper inlay in the Potala Collection, Lhasa; see von Schroeder, 2001, pls. 97D-E, p. 293.

3 For an eastern Indian sculpture in an uncorroded state and retaining original gems; see von Schroeder, 2001, pl. 79A, p. 253; and for an excavated example of the genre, a Maitreya now in the John and Berthe Ford Collection; see Huntington & Huntington, 1990, no. 49, pp. 176-178.