Here deep blue complexioned Vajrakila is shown in terrific union with his consort (wisdom or Prajna). He is dancing ecstatically and closely embracing his consort. Together they represent the union of wisdom (female) and artful method (male), which is compassion's action. The expression of both the deities are extremely terrifying. They stand on prostrate figures, one male and one female, symbolizing their triumph over delusion. Vajrakila has three heads, six-arms and four legs. He is embracing his consort with his two principal hands, and also holding a triangular dagger (kila) or (phurpa), in the same manner as when single. His remaining two right hands are holding vajra, while his upper left hand is in threatening gesture and the lower left hand holds trident-tipped khatvanga staff. His all three heads wear crown of skulls with jewels. His hair is upswept in loose, however center portion of his hair is tied in loose knot with the decoration of half vajra and serpent. There is flying Garuda with a snake on the top of his hair. Moreover he is adorned with a long garland of severed human heads, elephant skin cloak, human skin, tiger-skin skirt and exquisitely designed gold ornaments hoop earrings, armlets, bracelets and anklets.
His Consort (Prajna) is closely embracing him. Her right hand is around his neck and She lifts a skull bowl in her left hand, offering sips of its elixir to her lord. Her right leg is extended along his, while the left is wrapped around his waist. She is also adorned with a crown of skulls with jewels, a long garland of human skulls, a leopard-skin skirt and gold ornaments. There is protective fire aureole with clouds behind the back of Vajrakila. Adi-Buddha Samantabhadra Father-Mother is seated on the top in clouds with rainbow streams. Two flying eagles with snakes are depicted below the upper corners. The middle ground shows plain mountainous landscape, while the foreground depicts, stylized trees, peaceful and wrathful offerings, and a beautiful lake. The dark setting of the painting is effective in creating a serious mood; hence it is very much suitable for esoteric practices and rituals.
Ben Meulenbeld, Buddhist Symbolism in Tibetan Thangka, Holland, 2001
J.C. Huntington and D. Bangdel, The Circle of Bliss: Buddhist Meditational Art, Ohio, 2004
Marylin M. Rhie & Robert A.F. Thurman, Wisdom and Compassion: The Sacred Art of Tibet, Thames and Hudson, 1996
Marylin M. Rhie & Robert A.F. Thurman, Worlds of Transformation: Tibetan Art of Wisdom and Compassion, New York, 1999
R. Linrothe & J. Watt, Demonic Divine: Himalayan Art and Beyond, New York, 2005
This description is by Dr. Shailendra K. Verma, whose Doctorate thesis is on "Emergence and Evolution of the Buddha Image (From its inception to 8th century A.D.)".