Professional Documents
Culture Documents
Demons
of the
Himlayas
14
19 (7 )
Lakshm
Lakshm is the Hindu goddess of fortune, wealth, prosperity, here
conveyed by her wide hips, and beauty, in which case she is known as
Shr. She is the senior consort of Vishnu, to whose proper left she is
generally portrayed: independent sculptures of Lakshm are rare. The
Devmahtmya in the Mrkandeva-Purna contends that all forms of
goddesses (Dev) have evolved from a supreme Mahlakshm, who thus
becomes the basis for the worship of the principle of female energy
(shakt). Although hardly any temples are devoted to Lakshm, her
worship is observed all over India and images such as this one were
commissioned by the faithful to be placed either in their private shrines
or in shrines dedicated to other deities. Lakshm is usually depicted
with two arms, often holding a lotus, though here she holds two other
attributes of hers: a citrus fruit (mahlunga) with her right hand and a
bowl with the left.
78
27.3 (10 )
As pointed out by Donald Stadtner, the small lion at the rear of the
base is associated with Lakshm especially in Kashmir and Himachal,
where it appears in early representations of the goddess in spite of
the fact that such vehicle is normally associated with Shivas consort
, being an adaptation from the iconography of Nana, a fertility deity
widely worshipped in northwest India during the Kushna period.
Lakshm is accompanied here by two female attendants who might
have been holding fly-whisks (chaur).1
On the basis of comparable examples cast in brass and bronze, Donald
Stadtner suggested that this image was fashioned in the 7th or 8th
century in the Himachal area, pointing out both the shape of the ear
ornaments, as found in images from Kashmir, Himachal and beyond,2
and the presence of a flower above the ear.3 The long garland falling
below the knees is a feature of Kashmirian sculpture that spread as far
as Ladk.4
Pshupati
Shiva, the third member of the Hindu Trinity is represented here in two
addorsed figures sharing four heads. The front image represents him
as Pshupati, Lord of Animals, pashu meaning beast and soul and
referring actually to human beings as well as to cattle, though in the
context of the Pshupata sect the term pashu is related also to psha,
meaning fetters, with reference to the bondage of human existence and,
presumably, also bestiality. The rear figure portrays either Lakulsha, Shivas
revered and deified guru of the Pshupata sect, or else perhaps Yama,
the Vedic personification of death. Both figures wear tiaras, earrings,
necklaces, armlets and bracelets, the sacred thread of the Brahmanical
tradition, a dhot and a long garland reaching down almost to the ankles
according to a Kashmiri tradition that spread to Ladk. Lakulshas
short dhot is covered by an animal skin such as those used by some
yogins.
The cult of Shiva in his different forms was very popular in Kashmir
and still is in the Himalayas, where an important state sanctuary is
devoted to Pshupati at Deopatan, in the Nepal Valley. In his capacity
as herdsman and pastor, Pshupati holds a trident, which is one of his
main attributes here mounted on a bent wooden staff in his right
hand, while he grabs and holds a goat, or a gazelle, in his left hand,
according to an iconography originating in the Kushana period;1 indeed
the Pshupata sect may be traced to the 2nd century BC.2 Pshupati is
associated with the gazelle in a legend telling that Shiva, tired with the
gods adulation in Varanasi, disguised himself as a gazelle and moved
to a wood in the Nepal Valley.3 The club is an attribute shared by both
Yama and Lakulsha, and the Pshupata sect regard Pshupati as a
ghora, namely fierce, manifestation of Shiva.
21 (8 )
1
Cf. Pratapaditya Pal, Bronzes of Kashmir,
Graz 1975, pp. 16 and 56-57, No. 4a, b.
2
Cf. Mary Shepherd Slusser, Nepal Mandala.
A Cultural Study of the Kathmandu Valley,
Princeton 1982, vol. I, p. 226.
3
ibidem
4
ibidem
Shiva
This repouss copper face of the Hindu god Shiva used to cover a
similar face of the god carved in stone and representing his one-headed
phallic manifestation, Ekamukhalinga, linga meaning literally mark,
but being used also as an indicator of gender or sex, especially with
reference to the male sexual organ, particularly Shivas. Gilded copper
sheathing is commonly used to cover and protect sacred images as
well as shrine doors or windows in the Nepal Valley, as exemplified by
a remarkable four-headed gilded copper linga cover described and
illustrated by Pratapaditya Pal.1
Pshupati (Lord of Animals; see catalogue No. 3) as embodied in
Shivas phallic manifestation and as a personification of the universe
is worshipped in the state sanctuary at Deopatan, an ancient religious
site near the Bagmati river, in the Nepal Valley, and a privileged place
for cremation, since it is a subtributary of the Ganges, the holiest river
of the Hindus. Images of Shiva in his phallic form have been placed
near the Bagmati from at least the 4th century onwards. The sanctuary
is a very important pilgrimage place, especially on the occasion of
the yearly spring festival of Pshupati, when thousands of devotees
including Pshupata yogins reach it from India and Nepal, where, in his
capacity as protector of the king, Pshupati was a national god.
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37 (14 )
Shivas terrible and destructive wrath besides his powerful will of creation
abide in his linga, and the followers of the Pshupata sect regard
Pshupati as a ghora, namely fierce, manifestation of Shiva, whose
wrath is believed to reside in his phallus.
The pouting of the fleshy lips in one of the two covers seems to reflect
an aesthetic idiom that might be placed between the 6th-9th century
plaques of Shiva and his consort published by Pratapaditya Pal,2 and
the 17th century Chaturmukhalinga mentioned above.
10
Shiva
See catalogue No. 4.
10-11
31.5 (12 )
12
Bhirava
The most popular aspect of Shiva as Destroyer of evil and ignorance
in Nepal is Bhirava (Fierce), in his manifold wrathful manifestations,
amounting to sixty-four according to classical texts. His most wellknown representation as a mask is probably the Sveta Bhirava
(White Bhirava) made of gilded copper repouss with polychrome
paint in 1795 and placed at the entrance of the ancient royal palace in
Kathmandu. On some evenings during the festival devoted to Indra, the
king of the gods (see catalogue No. 1), devotees drink consecrated rice
beer through a pipe placed in Bhiravas mouth believing that it will
bring them good fortune.1 The hole in the middle of the mouth of this
particular mask, topped by Shivas head, was meant to be used for the
same purpose.2
16
44 (17 )
14
Shkyamuni
The historical Buddha (Awakened or Enlightened) Shkyamuni
(Wise or Powerful of the Shkya clan which he belonged to) lived
and preached in northern India around half a millenium before Christ.
According to his legendary biography, written after the beginning of
the common era, he was the son of a king, in spite of the fact that the
Shkya clan was organized in a small oligarchic republic, occupying a
territory including a southern strip of present day Nepal, where Shkyamuni
was born. As a child he received the name of Sarvarthasiddha, but he
was also known as Siddhartha, with the hereditary title of Gutama,
and with the epithets of Bhagavan (Lord), Bodhisattva (Being vowed
to Awakening or Enlightenment) and Mahbodhisattva (Great Bodhisattva),
besides Shkyamuni. Only at the beginning of the Common Era did his
followers start to represent him with anthropomorphic features and no
longer solely through symbols referring to the main events in his life.
29.3 (11 )
16
1
Cf. Pratapaditya Pal, Bronzes of Kashmir,
Graz 1975, pp. 41 and 45, n. 12.
2
Cf. ibid., pp. 198-199, fig. 75, and Ulrich
von Schroeder, Indo-Tibetan Bronzes, Visual
Dharma Publications, Hong Kong 1981, pp.
96-97, fig. 12E.
Shkyamuni
Shkyamuni was born at Lumbin, in present-day Nepal, where Buddhism
spread from an early period, and images of him were fashioned at least
from the times of the Lcchavi, a dynasty of Indian origin. Its kings ruled
the Nepal Valley as its inhabitants have traditionally called it before and
after the existence of Kathmandu, which previous to the 13th century
corresponded to little more than a couple of hamlets from the 4th
century, when the Gupta dynasty ruled northern India, until 879, when
the Pla dynasty ruled northeast India, and were obviously exposed to
the influence of Indian aesthetics.
The images of Shkyamuni fashioned during the Gupta period personify
an ideal of serenity, introspection and harmony. The Great Bodhisattva
was portrayed with a benevolent expression, sometimes smiling, the
eyes looking towards the faithful with a reassuring look, consistently
with the doctrines of the Buddhist schools of Great Vehicle (Mahyna),
which emphasized the importance of the compassion. This statue reflects
the Indian aesthetics that were introduced into the Nepal Valley during
Lcchavi dynasty and persisted after its end, and which are characterized
by a delicacy and grace rendered through the smoothness of surfaces
and contours. Shkyamuni offers the boon of his doctrine to the faithful
with his right hand while holding up the hem of the upper part of his
robe with the left, according to an iconography that was common in the
Nepal Valley, as exemplified by a contemporary statue found along the
right bank of the Bagmati river in the sanctuary of Pshupati as well
as by two later stone images, one standing behind the stupa of
Svayambhntha, the other in its nearby museum.
11-12
80 (31 )
During her long researches in the Nepal Valley, Mary Shepherd Slusser
came across several unbaked clay statues modelled around a wood
and iron armature, including this one,1 and later sculptures of the
same type had started turning up in private and public collections in
the West. Slusser points out that the earliest references to important
statues fashioned in clay in the Nepal Valley date from 573 and that
even such a simple material can be highly appreciated also in religious
terms. In this case Shkyamunis monastic robe was fashioned with
coarse cloth plastered on both sides with a wash of fine clay. Images such
as this one are obviously fragile, although they are actually designed
as permanent installations: once modelled and secured to the wall of
a shrine by means of iron rods attached to their armature, they were
not meant to be moved, which accounts for the conditions of those that
were removed from their original locations.2
It should be pointed out that Newar sculptors used the same medium
in southwest Tibet, as recorded in local historical sources which, in
connection with events occurring before the end of the 15th century,
mention that seven Newar artists fashioned statues in clay (so that
they might not be stolen!) at the monastery founded in 1387 at Shkar,
the first important Tibetan town on the route from the Nepal Valley to
south and central Tibet.3
18
Shkyamuni
The main image in this painted scroll portrays Shkyamuni flanked by
two Bodhisattvas, Avalokitshvara to his proper right and Maitreya to
his left, both standing in three-quarter profile and wearing a thin and
transparent garment covering the lower portion of the body (dhot) over
short underwear. By the 12th century this kind of dressing, of Indian origin,
had become fashionable not only in the Nepal Valley,1 but also in central
Asia, where it is generally believed to have lasted until the 14th century,
although in Ladk it lingered for half a century longer.
The vogue of reproducing the various artistic idioms of India, the Nepal
Valley, Khotan and China in Tibet is documented in Tibetan historical
sources and inscriptions, for instance at the 11th century monastery of
Iwng anciently Yemar in southwest Tibet, where images of Shkyamuni
and of a Bodhisattva in the same style as those found in this scroll were
painted by a Tibetan artist deliberately in Indian style. In the 20th century
those wall paintings were photographed by Fosco Maraini and studied
by Giuseppe Tucci, who attributed the Bodhisattva figure to the 12th century,
and eventually destroyed following the Cultural Revolution.2
Tibet, c. 1050-1100
Distemper on cloth
47 x 32 cm (18 x 12 in)
Provenance:
European Private Collection
acquired 1987
Published:
Amy Heller, Indian Style, Kashmir Style:
Aesthetics of Choice in Eleventh-Century
Tibet, Orientations, 32/10 (2001), pp. 2021, fig. 13.
Pratapaditya Pal, Himalayas: An Aesthetic
Adventure, Chicago 2003, pp. 174-175,
fig. 114.
1050-1100
47 x 32 (18 x 12 )
The two figures sitting at the height of Shkyamunis head have not
yet been identified, but the text of the Tibetan inscription at the back
of the scroll mentions at least two Tibetan monks: a translator of the
G clan (Gos Lo-tsa-ba) and possibly Dharma Lotr (Dharma Blogros).
The latter, who translated at least one Indian text into Tibetan at the time of
Rin-chen-bzang-po (958-1055),3 is mentioned in the inscription has having
made great confession rituals for obtaining prosperity.4 The former is
an epithet applying to three different scholars, the most famous being
Zhnnupl (gZhon-nu-dpal, 1392- 1481), the author of the Blue Annals,
another being Zhnnuzhp (gZhon-nu-zhabs, a contemporary of the
Bengalese scholar Vanaratna, first half of the 15th century) and a third
one being Tanak Khukpa Lhts (rTa-nag Khug-pa Lhas-btsas).
Tanak Khukpa Lhts lived at the time of the great Indian scholar tisha
(982-1054) resided in Tibet (1042-1054) and was his chief disciple in the
southwest Tibet,5 as well as a disciple of the famous eccentric scholar
Drokm Shkya Yesh (Brog-mi Shkya-yeshes 992-1072),6 who spent
several years in India and translated the Hevajra-tantra.7 Both tisha and
Drokm are portrayed in a composition devoted to the goddess Tr, stylistically
close to this painting and dated to c. 1100, where the pentad of the cosmic
Buddha (cf. catalogue No. 31) is found on the upper register instead of
the lower one, as in this case; both paintings are surrounded by highly
stylized lotus petal having an almost rectangular form.8
It is conceivable that the two figures at the sides of Shkyamunis head
in this painted scroll may portray respectively G Lotsawa Tanak Khukpa
Lhts and Dharma Lotr, who belonged to the same 11th-century cultural
milieu described above, which was influenced by Indian aesthetics under
the Pla and Sena dynasties, as betrayed by the prominent jaws of the
figures painted in three quarter profile9 and by the foliate roundels of
the scroll-work behind Shkyamuni, a motif of Bengalese though
ultimately Hellenistic origin that lived on in the Nepal Valley10 as part
of the Indian aesthetic heritage and was also adopted in Tibet.
20
Shkyamuni
Detail
Tibet, c. 1050-1100
Distemper on cloth
47 x 32 cm (18 x 12 in)
1050-1100
47 x 32 (18 x 12 )
23
10 Shkyamuni
Shkyamuni is portrayed here in the gesture of touching the Earth with
his right hand in order to summon her to bear witness to the Enlightenment, namely his vision of the Wheel of Existences, that he achieved at
Bodhgay, while the left one is still in the attitude of meditation. The
Earth-touching gesture symbolizes Shkyamunis victory over Death
(Mra) as well as the dominion of his doctrine over the world. Buddhists
extended the same gesture to Akshobhya, the cosmic Buddha of the east.
Tibet, c.1300
Copper alloy with copper inlay and
traces of gilding
48 cm (19 in)
1300
48 (19)
Provenance:
European Private Collection
acquired early 1990s
24
11 Shkyamunis Miracles
Buddhists have always believed in a plurality of Buddhas having lived
before Shkyamunis time and to appear in the future, but it was only
during the first centuries of the common era that they started to conceive of several Buddhas coexisting in various parts of the universe at
the same time. To the latter category belongs a set of five cosmic or
transcendent Buddhas, generically known with the epithet of Jina in
Sanskrit and Gylw (rGyal-ba) in Tibetan, meaning Victor. To each
cosmic Buddha corresponds not only a specific position in the space,
family, symbol, gesture, colour and vehicle, but also a particular type of
wisdom, of evil to defeat and of corresponding component of personality.
The Buddha occupying the central position in the universe is Vairchana
(Resplendent), seated on a lion throne at the centre in the foreground
of this painting and displaying the gesture of setting in motion the Wheel
of the Doctrine, the symbol of the Tathgata family to which he belongs.
To that Buddha correspond respectively pure and absolute wisdom, the
evil of stupidity which the former is supposed to counter, and form as
a component of personality. To Vairchanas proper right there was the
Buddha Amitbha (catalogue No. 13) and to his left sits Amoghasiddhi
(Infallibile Success), the Buddha presiding over the north quarter of the
universe and belonging to the Karma family, displaying the gesture of
absence of fear and reassurance towards the faithful surrounding him.
To him corresponds active wisdom, which is meant to counter the evil of
envy born out of the component of personality of our impulses.
In this composition an inscription on the basis of his throne seems
to give a special importance to the earliest Buddha in the pentad,
namely Akshobhya (catalogue No. 12). To the latters proper right sits
Ratnasmbhava (Jewel-Born), who presides the south quarter of the
universe and belongs to the Jewel family, and is regularly shown in the
gesture of affording spiritual riches to the devotees surrounding him
with his right hand. To that Buddha corresponds discriminating wisdom,
which must oppose the evil of desire born out of the component of
personality of our feelings.
Two murals depicting the pentad of the cosmic Buddhas occupy the
main walls in as many chapels on the ground floor of the monastery
of Zhal, in southwest Tibet, whose rulers were direct vassals of the
Yuan emperors. In the ancient vestibule of that monastery two other
murals were painted in Chinese style at the beginning following a visit
of the prince of Zhal to the emperor ljeit Temr, who sponsored the
enlargement and renovation of the monastery after the prince of Zhal
went to visit him in 1306 in order to obtain titles and rights, at a time
when high-ranking members of the Tibetan clergy spent long periods
at the Yuan court, where they were heavily exposed to Chinese taste.
In the composition taken here into consideration the Chinese idiom is
apparent in the rendering of the trees and clouds occupying the background of the composition.
The use of paintings on cotton applied to walls in 1423 is documented in
the assembly hall of the main monastic building at Gyants, the capital
of an important southwest Tibetan kingdom, as reported in the history
26
14
Shkyamunis Miracles
Detail
Eastern Tibet, 14th century
Distemper on cotton
172 x 241 cm (67 x 95 in)
14
of its rulers, having close family connections with the bordering principalities of Sakya and Zhal.1
The three inscriptions, partly defaced or incomplete, extant on the
painting are related to three miraculous deeds out of the fifteen performed
during as many days by Shkyamuni at Shrvast. The one on the
lowest margin of the painting refers to the second day, when king
Udryana made great offerings to the Buddha, who turned his head to
the right and to the left, making two mountains emerge on each side,
one covered with lush grass to feed animals, the other with special
food to satisfy humans. Then Shkyamuni taught the dharma according
to each individuals ability and many freed their minds by listening.
The inscription on Akshobhyas throne relates the miracle performed
by Shkyamuni on the fifth day, when king Brahmadatta of Varanasi
prepared various offerings for him. From the smiling face of the Buddha
shone a golden light that filled the entire world, reaching all living beings
and purifying the defilements of the three poisons: desire, hatred and
ignorance. All beings became peaceful in body and mind, and those
assembled rejoiced greatly. What is left of the inscription to the proper
left of Ratnasmbhavas throne refers to the miracle performed by
Shkyamuni on the sixth day, when the Lcchavi people made offerings
to him. The Buddha let the people who were there see into each others
mind, and each understood the others good and bad thoughts. All
experienced great faith and, after Shkyamuni taught the dharma,
many attained great understanding and some the spirit of Enlightenment, while an immeasurable number secured a future rebirth as a
human or god, the only kinds of existence affording the possibility of
learning the dharma, and achieving Enlightenment and Buddhahood.2
The days in which Shkyamuni performed the miracles at Shrvast
correspond to the first fifteen days in the first month of the Buddhist
calendar adopted in Tibet and it is likely that this painting was commissioned on the occasion of the celebrations for a New Year, the fifteenth
day being celebrated as the Day of Miracles.
29
12 Akshobhya
The representation of the cosmic Buddha of the east, Akshobhya, was
modelled upon the iconography of Shkyamuni as portrayed at the
very moment of Enlightenment at Bodhgay, significantly east of the
regions where the Buddha started to be portrayed in India. Touching
the goddess Earth with his right hand, he called Her to witness his
imperturbability in front of the assault of the demon Mr (Death),
of the latters beautiful daughters and of the terrifying host of demons
that tried to distract him during his final vigil of meditation before
Enlightenment. It is with reference to the condition of serene beatitude
that Shkyamuni reached in spite of those temptations and distractions
that this epiphany of his was called Akshobhya, meaning Imperturbable.
Later the followers of Buddhist esoteric schools (Vajrayna, meaning
Vajra Vehicle) endowed this epiphany of Shkyamuni with their most
important emblem, the vajra originally the thunderbolt sceptre of
the king of Hindu gods, Indra , which they interpreted as a symbol
of adamantine purity, indestructibility and perfection of the Buddhist
doctrine.
15
34.5 (13 )
30
Akshobhya
Back
Tibet, 15th century
Copper, fire-gilded and painted,
insert with turquoise
34.5 cm (13 in)
15
34.5 (13 )
33
13 Amitbha
Amitbha (Infinite Light), the cosmic Buddha presiding over the west
quarter of the universe, evolved in Buddhist religion and iconography after
Akshobhya and before Vairchana. He holds his hands in the gesture
of meditation. He belongs to the Lotus family and to him corresponds
the non-discriminating wisdom of indifferentiated identity, which must
counter malignity, whereas his corresponding component of personality
is perception.
In this image Amitbha wears a crown and princely ornaments, the
former being made of three isosceles triangular elements, one frontal
and the others lateral, with their bases close to each other, resting on a
band with a double string of pearls. Such crown is similar to that worn
by a statue of Vajrasattva found by Giuseppe Tucci at Kyangpu, in south
Tibet where the Kashmirian scholar Shkyashribhadra arrived in 1204
, and regarded by him as Indian,1 and to those worn by the eight Great
Bodhisattva statues standing in the chapel devoted to the Buddhas of the
Three Times in the ancient temple of Nyethang, in central Tibet, where
the Indian scholar tisha (982-1054) used to teach. Tucci regarded those
images as very ancient, though later than those in the 11th century
monastery of Iwng anciently Yemar in south Tibet, whose iconographic programme is followed in the chapel at Nyethang,2 and they
might not be later than 1205, the year of the foundation of the nearby
monastery, which was destroyed during the Cultural Revolution.
13
18.5 (7 )
34
14 Vajradhtu mndala
The iconographic development of the mndala from its simplest form
of a central plan, with deities arranged symmetrically in it, into the
elaborate fivefold scheme of later Buddhism, a highly ornate palace
with one or more inner courtyards, four decorated gateways opening
on each side of the walls and a corresponding group of five Buddhas
one in the centre and one for each direction of the compass has
not yet been the object of a thorough and conclusive study.
This mndala represents the Adamantine Sphere (Vajradhtu) in which
the pentad of the cosmic Buddhas was arranged by Indian tantric
schools. The essential features of the Vajradhtu depicted here fit
with Buddhaguhyas Dharmamandala-stra description of the mndala
as a central palace with ornaments and symbols occupied by a Lord
with his circle, and protected by a belt of vajras and a fire ditch.1
The Vajradhtu mndala falls into the general pattern described in
the Dharmamandalastra also in relation to the fivefold scheme of the
Buddhas with their individual characteristics, families, gestures and
colours, corresponding to the five Wisdoms.Their colours, white, red,
yellow, green and blue, correspond respectively to Vairchana, Amitbha,
Ratnasmbhava, Amoghasiddhi and Akshobhya (see catalogues Nos.
12, 13 and 31), who are easily recognizable in the inner palace, surrounded
by a belt of vajras, which protects also the abodes of the three main
cosmic Buddhas: Vairchana, Akshobhya and Amitbha.
Tibet,11th century
Distemper on cotton
125 x 125 cm (49 x 49 in)
Provenance:
European Private Collection
acquired 1980s
Published:
Steven Kossak and Jane Casey Singer,
and Robert Bruce Gardner, Sacred
Visions. Early Paintings from Central
Tibet, The Metropolitan Museum of Art,
New York 1998, p. 28, fig. 13.
11
36
Vajradhtu mndala
Detail
Tibet,11th century
Distemper on cotton
125 x 125 cm (49 x 49 in)
11
39
15 Buddhakapla mndala
Mndalas such as this one are drawn according to a general iconographic
pattern that was codified by the Indian master Buddhaguhya during
the second half of the 8th century. In his detailed verse treatise known
as Dharmamandala-stra, the Indian scholar defines the inner part of
the mndala as a divine palace (vimna, a term referring also to the
shrine portion of a temple) with four gates opening in its walls and
surmounted by decorated arches, obviously represented as vertical
in threedimensional mndalas, but tilted in their three-dimensional
representations such as this one.
After clarifying that mndalas may be cast in gold and silver, carved in
shell, stone, horn and wood, painted on cotton, modelled in mud and
clay, as well as made with coloured powders, the Dharmamandala-stra
lists and describes in detail the essential elements of the conventionalized
mndala as follows:
The mndala of relative self-nature
is twofold: the receptacle and its contents.
The receptacle is both the basis and the heavenly palace.
As for the basis, it is taught (as) the mndala (which arises) from the (five) elements.
The palace may be envisaged as substance and as abode for the divinities.
The palace is eightfold in its substance:
shape, colour, construction,
timber (work), decorations, enclosure (as) laid down, ornaments and peripheral areas.
As for the shape, it is fourfold:
The outside, the inside, the entrances and the basis.
The outside shape is intended as a stupa, a citadel,
A royal residence and a pavilion (on) a mountain top.
The inner shape is decided in conformity with the various tantras,
By the (Buddha) Families and their functions.
As for the entrances, they have lower and upper (parts):
The lower ones consist of the actual entrance and the gateway;
The upper ones are built in a way which is as beautiful as possible (with)
mounting steps, (round like) elephants backs, and so forth.
As for the shape of the basis, it is boundless
And level to infinity.
As for the colours, they are many,
Appearing according to the ways which different tantras envisage them
As being manifest in application to
The Families, the Wisdoms and their Functions.
As for the construction, walls and summit,
The foundations must be extended inside; and,
For the outside, the five kinds of precious stone are arranged in layers.
While their walls must be built in conformity with the foundations,
On the outer side, at the top, they should be surmounted by a projecting edge.
The door openings shall conform to what is taught above.
The four outer sides of the gateways
Consist in each case of four pillars
Supporting the ends of eight beams, which are the basis of the trana.
The bases of the posts and their capitals should be made properly.
As for the decorations, desirable things and cloth hangings,
Because of their beautiful shapes, pleasant sounds, sweet fragrance,
Delicious taste and pleasing nature,
The goddesses delight in them.
40
14
Buddhakapla mndala
Detail
Tibet, 14th century
distemper on cotton
63.5 x 54.4 cm (25 x 21 in)
14
43
16 Bodhisattva
The Buddhist schools of the Great Vehicle (Mahyna) exalted the figure
and role of the Bodhisattva, viewing him not just as an Enlightened
Being vowed to Buddhahood, but also as a hero who, moved by compassion, renounces temporarily nirvana in order to help human beings
on the path towards Enlightenment and the liberation from any form
of existence, hence from suffering. The heroic dimension of the
Bodhisattva in that role, assigned to him in India from around the 1st
century, was taken into account in the translation of the term bodhisattva
into Tibetan (byang-chub-sems-dpa), where the last syllable is the root
of a word meaning hero.
The heroic and athletic dimension of this statue derives from such
Indian ideal, which found its unequalled expression in the figures of
crowned and adorned Bodhisattvas wearing princely garments painted
at Ajant in the 5th century. In spite of stylistic differences, the same
ideal is apparent also in this figure, which is not treated in a naturalistic
way, but reflects an idea of perfect and spiritual nature which is beyond
the human one. Muscles and joints are hardly portrayed, and the
elements of the body flow into each other in a kind of idealized naturalism,
or super-naturalism, in conformity with an ideal of perfection found
also in Indian treatises of medicine and astrology, which explain that a
body has to be regarded as perfect when there is cohesion and uniformity
among all its parts.
110 (43 )
Provenance:
European Private Collection
acquired 1987
Published:
Pratapaditya Pal, Himalayas: An Aesthetic
Adventure, Chicago 2003, p. 169, fig. 108.
On the basis of the hypothesis that a vajra (cf. catalogue No. 1) might
have been standing vertically on the images right hand, whose palm
actually shows a small cavity formed by a circular raised edge meant
to accommodate an object, it has been suggested that this statue may
represent Vajrasattva,1 a name applying to the manifestations of a Buddha
or of a Bodhisattva according to the texts describing that figure. The
left hand of this image holds the stem of what might have been a lotus
flower, a symbol that is typical of the Bodhisattva Avalokitshvara, and
which is also found in six-handed manifestations of Vajrasattva.2 However,
in the iconography of the two-handed Vajrasattva, the vajra ought to be
paired with a bell, which is also absent in this image.
The figure is portrayed in a stately manner, with a slight sway to the
torso, and in spite of its unique style it may have been fashioned by a
Newar artist, possibly in Tibet, where Newars established themselves
and worked for Tibetan Buddhists since at least the 7th century. Also
the dating of this statue is problematic, since it cannot rest on purely
stylistic grounds, given its uniqueness, but ought to be related to the
early period in which Buddhism flourished in Tibet. Indeed it is conceivable that this statue dates to the rule of Rlpachn (Ral-pa-can),
the last Tibetan emperor who protected Buddhism before the fall of the
Tibetan empire, in 842, and who invited Newar sculptors and artists
to contribute to the construction of his personal temple at Ushangdo,
near Lhasa.3
44
17 Samantabhadra
In Mahyna Buddhism Samantabhadra (Universally Good) is one of
the eight Great Bodhisattvas, among whom he figures in an 8th century
stone mandala carved in a temple at Ellora, in India. Just like Vajrasattva,
in the course of time (cf. catalogue No.16) Samantabhadra came to be
regarded by the schools of Vajrayna Buddhism as a primeval Buddha
above the cosmic Buddhas (catalogue No. 31) and in that capacity he
has been worshipped in Tibet by the followers of the ancient (rNying-ma)
tradition of tantric teachings introduced by the Indian lay master
Padmasmbhava during the second half of the 8th century. Samantabhadra
as a Buddha is invoked at the outset of texts belonging to the Tibetan
collection of the Bard Thdrl (Bar-do thos-grol), dealing with after-death
and introduced into Tibet by the same master.
18
18.5 (7 )
46
Cf. Marie-Thrse de, Mallmann, Introduction liconographie du tntrisme bouddhique, Centre National de la Recherche
Scientifique, Paris 1975, pp. 333-334.
48
11
135.2 x 94 (53 x 37 )
11
135.2 x 94 (53 x 37 )
51
19 Majushr Yamntaka
Yamntaka (Yamas Destructor or Yamas Enemy, Yama meaning
Death as personified by a Vedic god absorbed into the Buddhist pantheon)
is a wrathful assistant of the Bodhisattva Majushr, of whom he came
to be regarded as a manifestation. Yamntaka (Tib. gShin-rje-byed) is
often confused with Vajrabhairava (Tib. rDo-rje-`jigsbyed), a tutelary
deity with Buddha rank characterized by a bull or a buffalo head as his
main head, in spite of the fact that the main tantric texts describing the
former do not mention an animal head in connection with him.1 Here
the identification of the deity is confirmed by the inscription in Sanskrit
transliterated into Tibetan and reading Noble Majushr Yamntaka
on the prong underneath the right foot of the image meant to secure it
to its stand,2 which was probably represented by buffalo lying on a sun
supported by a lotus. Several manifestations of Yamntaka evolved in
the course of time from the simplest one, with one head, two hands
and two legs, to the triumphal ones, having up to six faces, six hands
and six feet3.
The image portrayed here shows a triumphal manifestation of the god,
who was also known in the Nepal Valley, whose sculptors may have
fashioned this statue in Tibet during the 11th century. Since the first
half of the 7th century Newar craftsmen brought many skills to Tibet,
especially that of metalwork, and, after an interlude following the
collapse of the Tibetan empire, they were active again from the 11th
century, their idiom being adopted also by Tibetan artists, who often
copied their Newar models. The similarity of a group of 11th century
western Tibetan metal images produced at the royal workshops of Toling
with statues fashioned in the Nepal Valley was pointed out by the
Tibetan scholar and connoisseur Pma Karpo (Padma-dkar-po 1526
1592).4 From Tibetan sources we also learn that around 996 or shortly
afterwards the kings of western Tibet employed the Newar sculptor
Ashvadharma, in collaboration with a Kashmirian artist, to fashion the
c. 2.40 metre-high gilded silver statue with throne and halo of Majushr
for a temple in the monastery of Kojarnath, where the same sculptors
made six more statues.5
Newar art was highly thought of all over Tibet and in some instances
its idiom combined with the Tibetan one to an extent that a single and
undistinguishable style was created. That amalgamation was encouraged
by the great mobility of both artists and art objects. This phenomenon
cannot be understood in solely artistic terms: to appreciate it one must
take into account the overall economic, social, cultural and religious
interaction which has marked the relationship between Tibetans and
Newars until this day, of which religious art is one aspect.
Yamntakas five heads wear tiaras bearing the images of the five cosmic
Buddhas, while the upper one corresponds to Majushrs. Only few of
the gods attributes are extant: the disc of the law and the hilt of his
sword in two of the right hands, and a vajra in the upper left hand.
52
Tibet, c. 1000 AD
Copper alloy with gilding and pigment
37 cm (14 in)
Provenance:
European Private Collection
acquired 1987
Published:
Pratapaditya Pal, Himalayas: An Aesthetic
Adventure, Chicago 2003, p. 172, fig. 112.
1000
37 (14 )
20 Shdakshara Avalokitshvara
Avalokitshvara (the Lord Looking Down with compassion towards
sentient beings) is the spiritual son of the cosmic Buddha Amitbha
(catalogue No. 13), who is portrayed above the Bodhisattvas tall chignon
in this image. Avalokitshvara holds a lotus flower, the emblem of his
Buddha family, with his upper right hand, while in the corresponding
left he holds the rosary, an attribute derived from the Hindu god Shiva
in his capacity as Yogshvara (Lord of Yoga), upon whom Buddhists
modelled also the name Avalokitshvara. In fact Avalokitshvara is
also known as Padmapni, meaning Hand with Lotus, the name of an
earlier Bodhisattva from whom he presumably evolved as a particular
manifestation.
The very name of this Bodhisattva may have contributed to the success
which his cult enjoyed in the Nepal Valley along with the royal cult of
Shiva at least since the time of king Narendradeva, who spent several
years in exile in Tibet before returning to his country, where he ruled
from about 643 to 679. According to Newar historical sources,
Narendradeva initiated the chariot festival of Lokshvara at Bungamati
in the Nepal Valley. It is likely that the Nepalese king was a devotee of
Avalokitshvara before he went into exile to Tibet and that he initiated
his host, the emperor (Songtsn Gamp Srong-brtsan-sgam-po, ruled
c. 581?-641 and 646-649), to the cult of that Bodhisattva.
According to Tibetan historical sources, Avalokitshvara became
Songtsn Gamps tutelary deity and the emperor ordered Newar
sculptors to fashion an image of that Bodhisattva for the Trlnang
(Phrul-snang, later Jokhang) temple at Rasa (later Lhasa). Eventually
Songtsn Gamp himself came to be regarded as a manifestation of
Avalokitshvara and, according to traditional accounts, was absorbed
into the statues heart at the time of his passing away.
Over nine hundred years later the Dalai Lamas also came to be
regarded as manifestations of the same Bodhisattva and the Red Hill
upon which they had their palace built and upon which a chapel
devoted to Avalokitshvara had been apparently erected in Songtsn
Gamp times was called Ptala, the name of a mythical mountain
in southern India where Avalokitshvara dwells according to Buddhist
tradition. In that way the triumph of the Dalai Lamas religious order
over rival Tibetan orders, and against the lay kingdoms of southwest
and eastern Tibet, was sealed and warranted by a powerful religious
myth tying up with the recollection of the glorious past of the Tibetan
empire. It should be added that, according to the Buddhist version of
a Tibetan myth, the progenitors of the Tibetan people were a female
demon dwelling in a cave and a male disciple or else an emanation of
the Bodhisattva Avalokitshvara, who manifested himself to her in the
guise of ape. No wonder that Avalokitshvara became the most popular
Bodhisattva in Tibet, its protector par excellence and one of its very
symbols.
In his four-armed manifestation, Avalokitshvara is known under the
epithet of Shdakshara with reference to the four syllables making up
the famous invocation by which he was addressed since at least the 6th
54
13-14
()
44.4 (17 )
56
21 Mahkla
Mahkla (literally Great Black or Great Time) is a Hindu deity integrated
in the Indian Buddhist tantric pantheon where it performs the role of
guardian of the doctrine (Dharmapla). Like many other tantric deities he
originates from the god Shiva, one of whose aspects is known indeed
as Mahkla, to be understood in the sense of Absolute Time, pervading
all things and having no limit.
Mahkla is painted at the centre of this scroll in his manifestation
known in Tibetan as Zhingkyng Toptrok Wangp (Zhing-skyong-stobsphrog-dbang-po), holding a flaming sword and a spear in his upper
hands, and a knife for flaying and a bowl made from a human skull
filled with the blood and fat of the enemies of the dharma symbolically
slain by him in his lower hands. Standing in a martial posture, he
tramples two demons (Tib. bgegs) and is surrounded by four deified
female practioners of tantric yoga with the role of messengers (phonya-moi cha-lugs-can), black though actually emanating the colours
of the cosmic families of the four cosmic Buddhas presiding over the
directions of the universe: Singga Lingm (Sing-ga-gling-ma), yellow,
Yumchn Gyungm (Yum-chen-gyung-mo), blue-black, Sinmo Chenmo
(Srin-mo-chenmo), red, and Ldz Tummo (Las-mdzad-gtum-mo),
green, according to an iconography found in other painted scrolls,1 in
some of which also the Indian master Ngrjuna is portrayed.2
17 -18
77 x 60 (30 x 23 )
58
22 Mahkla
Ntha Mahkla (Great Black Lord) is a Buddhist version of the Hindu
god Shiva (cf. catalogue No. 21) in the latters manifestation as Kla
Bhirava (Black Terrible), from whom this Buddhist protector of the
dharma (Dharmapla) has borrowed most of his attributes: the coronet
of skulls; the long necklace made of human heads freshly severed; the
bowl fashioned from a human skull (kapla), overflowing with the blood
and fat of his enemies and held in one of the main hands; the rosary, of
skulls in the Buddhist tantric iconography of this deity, and the trident,
here missing, in the upper hands; and the ritual two-headed drum and
the lasso, also missing, in the lower hands.1 Wearing a tiger skin and
holding the curved knife used for flaying, the god shows his fangs while
shouting in order to frighten the enemies of the doctrine. His beard,
moustache, eyebrows and hair are flaming, and two snakes are visible
in the latter. In his martial posture, Ntha Mahkla tramples the
Hindu elephant-headed god Ganesha (or Gnapati), Shivas son, here
offering a full kapla to the Dharmapla, thus betraying the competing
and ambiguous attitude of Buddhists towards Hindu deities, shown
sometimes as protectors and sometimes as enemies of the Buddhist
dharma (cf. catalogue Nos. 15, 18 and 24).
18
54 (21 )
60
23 Hayagrva
Hayagrva (Horse-Headed, literally Horse-Necked) is originally
a Hindu deity, the demon of fever and assistant of Yama, the god of
death,1 but Buddhists turned him into an assistant of the Bodhisattva
Avalokitshvara, who holds an important place in Buddhist worship in
the Nepal Valley. Hayagrva is described as being small, with three
bulging eyes, obvious fangs and frowning eyebrows, wearing a tiger
skin garment, here reaching his ankles, as well as snake ear-rings,
necklace, armlets, bracelets, anklets and sacred Brahmanical thread
across his chest, and holding a lotus flower in his right hand and a
club in the left one, both attributes having been lost in this image. As an
attendant of Avalokitshvara he belongs to the lotus family, which is presided
by Amitbha, the Buddha of the western direction (catalogue No. 13).
9.5 (3 )
62
24 chala
chala (Mountain, literally Immobile in the sense of Immovable) is
one of the most strenuous defenders of the Buddhist doctrine and is
also known under other names, such as Chandamahrshana. He belongs
to the families of the cosmic Buddhas Akshobhya and Vairchana as
well as to the group of the ten Krodha (Furious) protectors of the
mndala, and he is always shown with a wrathful aspect and a martial
posture. This tantric deity is recognizable from his squint and his weapons:
the sword, which he brandishes with his right hand in order to frighten
Brahmanical gods and demigods, and the rope, here ending with half
a vajra, which the god holds in the left hand at the height of his heart,
displaying the gesture of warning with his forefingher extended, in order
to guide sentient beings. chala tramples the Hindu gods shana, the
guardian of the northeast direction, and Ganesha (see also catalogue
No. 22), also known as Vighna (Obstacle), as explained by a legend
whereby the elephant-headed god tried to prevent a Buddhist pndita
from attaining perfection by putting unsurmountable aspects in his
way, only to be defeated by Vighnntaka (Destroyer of Obstacles), the
Krodha of the northern direction with whom chala is often associated.1
13
26.5 (10 )
64
25 Vaishrvana
The great guardian king of the north, Vaishrvana (Offspring of the
Famous One) is the lord of the Yakshas, the ancient pan-Indian deities
from whom he originates, and represents the Buddhist version of
Kuvera, the Vedic king of wealth and son of the sage Vishravas, from
whom he derives his name. Wearing armour and boots, he sits on a
lion, holding a banner of victory and the head of a mongoose vomiting
jewels, and keeps his mouth shut not to let out his poisonous breath.
After embracing Buddhism, Vaishrvana, devoted himself to make up
for peoples lack of spiritual and material wealth.
Vaishrvana, unlike most figures of the Buddhist pantheon, reached
Tibet via China through Central Asia, where Indian communities had
established themselves, in the iconography that had developed in those
areas. His armour and headgear may be related to the Sassanid period1
and spread to the towns of the Silk Road, like Khotan, whose rulers
regarded themselves as Vaishrvanas descendants, but the lion-headed
shoulder plates of his armour, only the left one being visible here, represent
a feature of Hellenistic origin that reached Central Asia through Iran.
Vaishrvanas retinue of eight horsemen, surrounding him in this
sculpure, is generally fashioned in Central Asian style.
14
26.5 ((10 )
66
26 Pehar
Pehar is one of the few gods of central Asian origin, in this case
Turkic-Mongol, which were included in the Tibetan pantheon, probably after
Tibetans conquered the areas in which he was worshipped. According
to Tibetan tradition he was tamed along with other central Asian deities by
the supernatural powers of the Indian master Padmasmbhava, who
had been invited to Tibet to cooperate in the construction of the first
Buddhist monastery, Smye, established in Tibet during the second
half of the 8th century, and who entrusted Pehar with the custody of
its treasury. Later Pehar decided to establish himself in a monastery
east of Lhasa, but he clashed with its abbot, who shut him in a box and
had it thrown into the Kyichu river. The box was rescued a few miles
downstream and, as soon as it was opened, Pehar flew to the nearby
monastery of Nchung in the guise of a white dove, and alighted on a
tree, around which a temple was built. Since the 17th century this god
has manifested himself by taking possession of mediums regarded as
state oracles by the Ghelk religious order and continues to play such
a role at the Dalai Lamas headquarters in Dharamsala, India.
18
One of Pehars characteristics is that, having not yet left the phenomenal
world, he manifests himself thanks to the medianic power of human
oracles, but in this painting the god is conjured up through the representation
of his emblems and offerings to him. Two of Pehars most prominent
attributes are a wide-brimmed hat, echoed by the huge and heavy
one worn by his medium during the trance, and the mirror, a symbol of
all-seeingness, worn at the height of the navel. According to one of the
Nyingma (Ancient) Tibetan Buddhist traditions rooted in Padmasambhavas
tantric teachings, there are five different manifestations of Pehar in his
capacity as a king protecting the world, each representing respectively
body, speech, mind, quality in the sense of virtue, and activity or action
(karma). The King of Qualities, his fourth manifestation, rides a black
horse such as the one painted in this scroll. However, not all the other
attributes of the King of Qualities are visible in this painting, whereas
a form of Pehar as the King of Karma or Actions is shown as riding a
horse.1
Paintings such as this one, where peaceful and wrathful attributes of and
offerings to a deity are represented, are known as gyntsk (rgyan-tshogs),
literally meaning assembly of ornaments in the sense of attributes,
and are often kept in the special chapel housing the Dharmaplas
protecting a monastery and its congregation. The absence of a deity
and the allusion to it through emblems confer a special power to the
image, giving the devotee a feeling that is the awesome equivalent of
what early Buddhists must have experienced in front of the first aniconic
images of Shkyamuni, in which the presence of the Buddha was conjured
up by powerful symbols through his very absence.
68
27 Vajrayogin
Vajrayogin is a goddess, or possibly a deified female practitioner of tantric
yoga, attached to the cycle of Hevajra, a tutelary deity with Buddha rank,
who is represented to her proper right in the upper corner of the central
section in this painted scroll. In tantric texts Vajrayogin is described
as naked, with opulent breasts, in the bloom of her youth in spite of her
horrible look, either with one leg straight and the other bent, or with one
foot raised while the other tramples a corpse.1 The latter iconography
corresponds to her representation in this painting and in a famous 13th
century one showing the Mahsiddha Virpa preventing the sun from
setting, where the goddess is represented above the scene.2 Performing a
ritual dance on the corpse of an enemy of the dharma, Vajrayogin wears
a diadem of skulls and a garland of severed human heads, holds a bowl
fashioned from a human skull in her left hand, and brandishes a ritual
flaying knife in her right, while holding the magic staff characteristic of
tantric deities, particularly those of the cycle of Hevajra, against her left
shoulder.
14
63 x 49 (24 x 19 )
28 Trashipl
This image belongs to a corpus of paintings studied thoroughly by David
Jackson and related to the monastery of Taklung, in central Tibet,
founded in 1185 by the master it portrays, Trashipl (bKra-shis-dpal,
1142-1210).1 The Taklung order belongs, like that of Trashipls master,
Pakmotrup Dorj Gylp (Phag-mo-gru-pa rDor-rje-gyal-po), to the
tradition known as Kgy (bKa-brgyud, an abbreviation standing for
bKa-babs bzhii brgyud-pa, meaning Lineage of the Four Commands
with reference to four important tantric deities, rather than merely
Oral Tradition, as often held). Pakmotrup, who had established his
own order, is portrayed here above Trashipl at the centre of the upper
register of the composition. To Pakmotrups proper right one may
recognize the primordial Buddha, Vajradhara, followed by Tilopa and
Nropa, the Indian masters of the Kagy tradition, whereas to Pakmotrups
proper left one may see their Tibetan successors, Marp (Mar-pa,
1012-1096), Milrp (Mi-la-ras-pa, 1040-1123) and Gampopa (sGam-po-pa,
1079-1153), who transformed the Kgy lay tradition into a monastic
school. Both Pakmotrup and Tashipl are portrayed again facing each
in the side margins of the painting, the latter recognizable from his
characteristic flat hat, just above two of the Great Guardian Kings of
the directions, the other two being placed respectively below Nropa
and Gampopa.
1314
60 x 51 (23 x 20 )
72
Trashipl
Tibet, early to mid-14th century
Detail (back)
Pigments on cotton
60 x 51 cm (23 x 20 in)
1314
60 x 51 (23 x 20 )
75
29 Chwang Gyltsn
The inscription around the base of the lotus flower supporting the portrait
of this master pays homage to the mnyam-med Chos-dbang-rgyal-mtshan,
that is to the peerless Chwang Gyltsn, whose teachings and gaze
are alluded to by the copper inlay work in the lips and eyes of the image.
The master displays the gesture of debate while holding a book bearing
as a title the compound term Phyag-chen, which is the Tibetan translation of Mahmudr, meaning Great Seal or Great Symbol. Chwang
Gyltsn was obviously a follower of the body of teachings grouped under
that name, which appeared in India in the 7th century and is found in
the mystic songs of the 8th century Indian lay master Saraha, one of
the founders of the Mahmudr tradition, which became increasingly important in late Indian Buddhism particularly in the yoga-tantra schools.
An inscription in nine-syllable verses on a copper-alloy statue portraying the great scholar Bodng Chkl Nmgyl (Bo-dong Phyogs-las-rnam-rgyal, 1375-1451) describes that portrait as the peerless
Chwang Gyltsns personal image (nangrten, inner image, internal
support).1 Bodng Chkl Nmgyl, a native of western Tibet, became
the abbot of the monastery of Jonng before moving to central and
southern Tibet, and taught especially the Klachakra-tantra, but his
interest in Mahmudr teachings is reflected by the circumstance that
he painted two images of Saraha, one in Newar and the other in Indian
style.2 Bodng Chkl Nmgyl is regularly portrayed wearing a hat
similar to Chwang Gyltsns in this portrait. If the latter was a personal
disciple of the former, with whom he shared a special interest in the
teachings of the Mahmudr tradition, then he must have lived in the
middle of the 15th century and this portrait would date to that period.
15
23.8 (9 )
76
30 Book cover
In Buddist terms books are more important than images in their role
as supports of the dharma, according to the traditional three-fold division
of supports, of the Body (image), Speech (text) and Mind (stupa), the last
corresponding to the highest level. From the artistic and religious point
of view the importance of texts may be hardly overestimated, not only
because they help in the identification of images belonging to the
Buddhist pantheon, but also because they describe religious figures
that have not always been actually represented.
During the first half of the 7th century, at the outset of the imperial period,
Tibetans adopted a writing system derived from an Indian alphabet
and initially wrote on rolls of paper, following the Chinese manner. As
their interest in Buddhist India increased, however, they adopted
the horizontal format used in Indian palm-leaf manuscripts, which
they started acquiring and translating from the second half of the
8th century. They obviously adopted the corresponding format for book
covers, which they could see not only in Indian books, but also in Newar
ones from the Nepal Valley, where materials other than wood could be
used, as illustrated by a pair of 13th century gilded copper ones kept at the
Museum of Bhdgaon. Tibetan book covers are made almost exclusively
of wood, often carved, and painted and gilded, following the same size
of the paper sheets they are meant to protect, their format not being
bound by the size of the palm leaf which conditioned the format of their
Indian models.
The decoration of this book cover is reminiscent of the fine woodwork
with racemes and animals which may be found also in contemporary
Tibetan wooden architecture, for instance in the lintel above the entrance
to the Three Door Chapel on the ground floor of the monastery of
Zhal, in southwest Tibet, built between 1290 and 1303. Foliate motifs
of Indian origin may be found also in the decoration of statues (cf.
catalogue No. 20), but in this case they include two highly stylized
dragons, a motif of Chinese origin, in the inner section of the cover
protected by a row of pearls. The position of the stupa carved in low-relief
along one of the sides of the book cover suggests that the latter may
have been the lower one in a pair protecting a precious volume containing
the Tibetan translation of a Sanskrit text probably related to early
Buddhist literature.
78
13
26.5 x 74 (10 x 29 )
12 13
28 x 72 (11 x 28 )
References
Bell, Charles Alfred.The Religion of Tibet. Oxford University
Press, Oxford 1970.
Bguin, Gilles.Art sotrique de lHimlaya: catalogue de la donation
Lionel Fournier. Runion des Muses Nationaux, Paris 1990.
Bguin, Gilles.Les Peintures du Bouddhisme Tibtain. Runion
des Muses Nationaux, Paris 1990.
Callanan, Jeanne de Guardiola, and Carlton C.Rochell Jr. (eds).
Icons of Devotion: Indian and Southeast Asian Art. Carlton Rochell,
New York 2004.
Chandra, Lokesh.Buddhist Iconography. International Academy
of Indian Culture - Aditya Prakashan, New Delhi 1991.
Dagyab, Loden Sherab.Tibetan Religious Art. Otto Harrassowitz,
Wiesbaden 1977.
Essen, Gerd-Wolfgang, and Tsering Tashi Thingo.Die Gtter des
Himalaya - Systematischer Bestandskatalog. Prestel, Mnchen
1989.
Everding, Karl-Heinz. Some notes on the history of the principality
of La stod lHo in the period of the 12th to the 14th century
Unpublished paper. 7th Seminar of the International Association
for Tibetan Studies. Leibnitz 19 June 1995.
Ferrari, Alfonsa, Luciano Petech, and Hugh Richardson
(eds).Mkyen brtses Guide to the Holy Places of Central Tibet.
Istituto Italiano per il Medio ed Estremo Oriente, Roma 1958.
Getty, Alice.Ganesa. A Monograph on the Elephant-Faced God.
Munshiram Manoharlal, New Delhi 1971.
Gnoli, Gherardo, and Lionello Lanciotti (eds).Orientalia losephi
Tucci Memoriae Dicata. Istituto Italiano per il Medio ed Estremo
Oriente, Roma 1987.
Guillemin, Jacques. Commmoration Cyrus. Actes du congrs de
Shiraz 1971 et autres tudes: Ihommage universel. E. J. Brill Bibliothque Pahlavi, Leiden - Thran - Lige 1974.
Gupte, Ramesh.Iconography of the Hindus, Buddhists and Jains.
D.B. Taraporevala Sons & Co., Bombay 1972.
Heller, Amy.Arte Tibetana: Lo sviluppo della spiritualit e dellarte
in Tibet dal 600 al 2000 d.C. Jaca book, Milano 1999.
Heller, Amy.Indian Style, Kashmir Style: Aesthetics of Choice in
Eleventh- Century Tibet.Orientations, 32/10. December 2001.
Jackson, David.A History of Tibetan Painting: The Great Tibetan
Painters and Their Traditions. Verlag der Osterreichischen Akademie der Wissenschaften, Wien 1996.
Jackson, David, with contributions by Christian Luczanits.Mirror of the
Buddha. Early Portraits from Tibet. Rubin Museum of Art, New York 2011.
82
83
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Cover:
Majushr Yamntaka
Tibet, c. 1000 AD
Copper alloy with gilding and pigment
37 cm (14 in)
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