Masterworks: Jewels of the Collection - docs.rma2.orgdocs.rma2.org/Masterworks Exhibition Guide.pdf · Masterworks: Jewels of the Collection ... Guhyasamaja Manjuvajra Kashmir/Himachal

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Masterworks: Jewels of the Collection

Wall Texts and 1st Rotation Labels DRAFT DOCUMENT FOR INTERNAL DISTRIBUTION ONLY

Masterworks: Jewels of the Collection showcases the Rubin Museum of Art’s permanent collection and highlights the quality and diversity of art in the Himalayas. The exhibition allows exploring the wider cultural, geographic, historical, religious and stylistic interrelationships of different branches of Himalayan and closely related artistic traditions. The diverse regional traditions of Tibetan Buddhist art (West Tibet, Central Tibet, Bhutan and East Tibet) are set in relation to the neighboring areas of India, Kashmir, Nepal, China, and Mongolia. The exhibited objects are presented in terms of their broader artistic and cultural traditions as they are expressed in Tibetan Buddhist connoisseurship.

Himalayan art is the produce of traditional craftsmanship. The success and reputation of the artist derives from the teacher he has studied with, his fluency in different styles, and directly from the works he produces. In the traditional sense a “masterwork” is the product a craftsmen created to be accepted as member of a guild. The word masterwork emphasizes the craftsmanship and labor that goes into a great piece of art and relates it to the historical and geographical context it has been created in.


Indian Precedence Buddhism originated in India, and early Tibetan Buddhism emphasized its connection to its land of origin. With the sites of Buddha Shakyamuni’s life immediately to the south of the Himalayas, early Tibetan Buddhists also went on pilgrimage to the holy places there. Besides Northeast India, also the northwestern region of Kashmir retained Buddhism into the 13th century and exerted considerable influence. Here objects of both regions are placed side by side, demonstrating their similarities in cultural background and distinctiveness in detail. Tibetan Buddhist art based on Eastern Indian prototypes and conceptions (called Sharri) and hailing from Kashmir or influenced by it (the Kashmir style) are both recognized in Tibetan connoisseurship. In general, Himalayan art inherits the iconometric proportions and the significance attributed to gestures, postures and attributes from its Indian religious background.

Snake-goddess Manasa Northeast India;ca. 12th century Black stone (Phyllite) C2005.36.2 (HAR 65569)

This masterfully executed small stele shows the snake-goddess Manasa, who is venerated in the Hindu traditions of Bengal, Northeast India. Since the same craftsmen make images of different religious traditions, stylistic traits of art work can be compared across them. Manasa’s imagery is directly comparable to that of Tara in the Himalayan traditions, regardless if in painting or sculpture. The composition of the stele, with a large central image and the secondary figures distributed according an axial symmetry is found in early Tibetan painting as well. The goddess seated in royal ease has a hood of seven snakes and an additional snake as her attribute in her left hand. The fruit in the right hand and the vase underneath her foot are symbols of wealth and fertility. The ascetic to her right is her husband Jaratkaru and to her left is either her son Astika or her brother Vasuki, the serpent-king. Even the flying offering deities flanking the blossom finial on top of the stele have a snake body.A kneeling female worshipper and her offering are shown on the base.


Buddha and Goddess in a Lotus Petal Northeast India; 10th–11th century Copper alloy C2003.55.3 (HAR 65325)

The two deities are seated inside a lotus petal, which once was part of a lotus-shaped mandala. The Buddha above has a flaming protuberance on top of the head, sharp facial features with prominent nose, transparent robe revealing the body with its hem crossing the upper body in an undulating line, a strongly marked belt area and the dress bulging underneath the lower left arm; all features typical for Northeast Indian Buddha representations and are often referenced in Himalayan artworks. The relaxed sitting posture of the goddess, in contrast, is rarely used in Himalayas. The identity of these two figures is unclear, since there is no direct comparison for a composition that has a Buddha holding a fruit in a secondary position. It could be a representation of the medicine Buddha. In this case, the main figure of the mandala assembly would be the goddess of wisdom, Prajnaparamita, who can also be shown in the form of a book. The identity of the goddess underneath would remain uncertain, since no representation of this topic with four or eight prominent goddesses is known.


The Major Events of a Buddha’s Life Northeast India, 12th century “Andagu”-stone with traces of pigments C2005.4.2 (HAR 65388)

For early Tibetan Buddhists the northeast Indian village of Bodhgaya, the place of the Buddha’s enlightenment, was an important pilgrimage place. Some pilgrims returned to Tibet with small stone steles, such as this magnificent example, dedicated to the enlightenment and the Buddha’s life. The composition of such steles is found on early Tibetan scroll paintings as well.The physical appearance of the Buddha, featuring a disproportionally short and thick neck, is a direct reference to the main image that occupied the Bodhgaya temple from ca. the 11th to the 13th centuries. The central Buddha, seated under a tree and touching the earth, refers to the enlightenment without showing any of its narrative elements. The main image, together with the six Buddhas to its sidesfurther stands for the seven weeks of meditation around the place of enlightenment. The events on the stele’s periphery are of the Buddha’s life culminating in the ultimate release (parinirvana) shown on top. The two snakes supporting the throne and the multiple animals on the base refer to the cosmic nature of the Buddha.


Inscribed Lion Throne Gilgit, Northern Pakistan, Palola Shahi rule; early 7th century Metalwork C2005.37.2

Recent scholarship has made great progress on bronzes from the small kingdom of the Palola Shahi in the area of Gilgit, Northern Pakistan. The frequency of inscriptions on these allowed establishing a chronology of the royal house that ruled the area from the late 6th to the 8th century. This large lion throne, likely once supporting a seated Buddha, is one of the earliest pieces known. Many of the so-called Gilgit-bronzes eventually made their way to Tibet and certainly have been influential there. The two lions supporting the throne’s platform characterize a lion throne. The lion is a royal animal that eventually was used for the Buddha and other higher Buddhist divinities as well, since these share the symbolism of the universal ruler (cakravartin). The playfully executed lions hold garlands in their outer paw. Between them the front textile with tassels holds the inscription. The back legs of the throne are makara-heads devouring a lion’s paw. The throne stands on a double lotus that rests on a rock platform


Guhyasamaja Manjuvajra Kashmir/Himachal Pradesh; 11th century Leaded copper-zinc-tin alloy with silver inlay C2004.14.3 (HAR 65339)

The Northwest Indian area of Kashmir has been greatly influential not only in terms of style, but also for its special forms of Tantrism. Many of the earliest bronzes depicting multi-headed and multi-limbed deities are from this region, as is this six-armed image of Manjuvajra from the Sacred Assembly (Guhyasamaja)-Tantra. This bronze shows a number of elements typical for objects from this region, such as the triple crescent crown, the flower rosettes above the ear, the high level craftsmanship with inlays, the long garlands and textile patterns on the dress. Stylistically, the bronze is rather singular. Guhyasamaja Manjuvajra is three-headed and four-armed his main color being orange. His main arms are in vajrahumkara gesture, the arms crossed at the wrist as if holding vajra and bell. Usually he also embraces a consort, its absence being also quite common for early western Himalayan tantric bronzes. Of the other attributes sword and blue lily (utpala) and bow and arrow form pairs that are typical for other forms of Manjushri as well.The three-teeth pendant on the necklace refers to the Bodhisattva’s youth.


Nepal Connection The cultural exchange between Nepal and Tibet is complex, since the workmanship of the Newars is cherished throughout the Himalayas and even beyond. Nevertheless, the art of the Kathmandu valley can often easily be differentiated from the art in the Tibetan cultural sphere, which includes the valleys of Tibetan culture in present day Nepal, such as Mustang.

Contacts with Nepalese craftsmanship were particularly strong prior to 1500 and in the Central Tibetan region immediately north of Nepal, the region of South-Central Tibet (gTsang). With its main monastery in this region and politically predominant in the 13th and 14th centuries the early art of the Sakyapa School demonstrates these connection most clearly. This section assembles objects from Nepal and the wider South-Central Tibetan region with close relationship to the art of the Kathmandu valley. The latter represent the Nepalese style, Beri, in Tibetan art and connoisseurship Bhairava, a fierce form of Shiva Nepal, ca. 16th century Gilt copper alloy C2005.16.14 (HAR 65436)

Nepal is particularly well known for its fine metalwork. Since the same artists create Buddhist and Hindu imagerytheir idols share the same artistic conventions. The broad face with bulging eyes and gaping mouth, the five-pointed crown with peaceful and wrathful (skulls and snakes) elements, the hair standing on end, and the fiery facial hair, are typical for fierce images and directly convert into painting as well. The monumental mask depicts a fierce form of the Hindu god Shiva, known as The Terrifying One (Bhairava). His identity can be deduced form the small snake in the hair above the central crown point and the crescent at the side of its tail. The mask was used in processions during festivals; a tube in its mouth would dispense beer from a hidden reservoir into the mouths of devotees, conferring benefit throughout the year.


Shiva and Parvati Nepal; 13th century Metal C2005.16.12 (HAR 65434)

The two deities have rather elongated bodies and limbs, which in this case are further accentuated by the high hair knot of the male. Nepalese metal images share a number of characteristic features that distinguish them from other art schools. Most consistent is the gentle smile, that here also fits the depicted topic.Early sculptures often have a circular lotus base, pointed dress- and scarf-endsthickened through numerous overlaps, as shown here between Shiva’s legs. Stone insets are more typical for Nepalese sculpture as well. The divine couple of the Hindu god Shiva and the daughter of Himalaya, Parvati, can be taken as exemplary for the male-female relationship in the Hindu worldview. The hieratic stance of Shiva contrasts with the adapted posture of Parvati, which is both directed towards the god and ready to move away from him. The worn foreheads of the deities and remnants of vermillion coloring are the result of daily ritual worship in which the deity is treated like a guest.


Amoghapasha mandala Nepal, dated 1502 Pigments on cloth C2006.66.43 (HAR 100011)

Stylistically the Buddhist paintings of Nepal and Tibet are closely related, as readily apparent in the detailsof the central mandala. Other features are typical for Nepal. For example, there is no lineage on top, since the teaching derivation is not a major issue in Nepal. Instead, human involvement is emphasized through extensive donor depictions at the bottom of the painting,in which ritual action and veneration are emphasized. Often dated inscriptions accompany these depictions, the resulting chronology of Nepalese paintings being equally relevant for Tibetan painting. This21-deity mandala is dedicated to an eight-armed form of the Bodhisattva Avalokiteshvara called Amoghapasha, “Unfailing Noose”.As one of the earliest prominent forms of any Bodhisattva heading a mandala, his assembly is curiously unbalanced with Buddhas, Bodhisattvas and goddesses represented together on the inner lotus circle. On top, the five Buddhas are headed by Buddha Amitabha, and flanked by the Bodhisattvas Manjushri and Maitreya. In the corners of the mandala, the four main deities, among them Buddha Ratnasambhava and Prajnaparamita, are flanked by four-armed emanations of Avalokiteshvara rescuing from eight types of dangers.


Two-sided Festival Banner with Goddesses Nepal, 17th century Pigements on cloth C2007.19.1 (HAR 69050/51)

Nepalese painting typically has a vibrant color scheme that changed little over time, with red always playing a major role. Here the body of the deity is emphasized by a contrasting color used for the background. Each of the deities is represented under a baldachin with tassels hanging from the sides. Most remarkable are the textile patterns on the dresses and scarves.Banners (paubha) such as this one were used in processions and are part of a larger set. The banner shows two so-called“mothers” (matrka), a group of goddesses representing the female counterparts of great Hindu gods and also considered their energies (shakti).The white goddess is Varuni, the goddess of the water, which is symbolized by the multiple snakes behind the body forming a hood above the head, the mythical water monster (makara) she dances on and the lotus and serpent attributes. The red Varahi, on the reverse, is the shakti of Vishnu’s boar incarnation. The boar-headed divinity stands on a bull, her four hands holding a fish an elephant goad and a skull cup.


Buddha Shakyamuni Northwest Nepal (Khasa Malla), 14th century The Rubin Museum of Art C2006.24.1 (HAR 65687)

Artistic centers also developed in a number of kingdoms along the Himalayan range among them in the Khasa Malla kingdom of Northwestern Nepal, to which this fine Buddha image can be attributed. The Buddha is rather sturdy, has a proportionally large head with a low forehead and a wide ushnisha. Characteristic are the beak-like nose and the down-cast eyes widening at the sides. The details of his monastic robe, the ornamented hem and the tail end on the shoulder, are rather abstracted. The Buddha with his characteristic lotus wheel marks on hands and feet wears monastic dress and performs the gesture of touching the earth (bhumisparshamudra), referring to his enlightenment. Such images are conventionally identified as representing Buddha Shakyamuni, the Buddha of our age. Only the earrings hint towards a more transcendental form of Buddhahood represented by these images. So-called bejeweled Buddhas refer to the enlightenment in heaven that preceded the Buddhas last existence according the Great Vehicle (Mahayana).


Nine-deity Mandala of Two-armed Hevajra South-Central Tibet (gTsang), Sakya (Ngor),15th century Pigments on cloth C2002.24.7 (HAR 65123)

In many respects, this exquisite mandala thangka is typical for early Tibetan representations of this topic. In the color palette, red dominates and the mandala occupies the full width of the canvas and the corners are filled with deities sized to space. There are single registers with additional figures on and bottom. The mandala itself is pervaded by the color scheme of the five Buddhas, white for Vairocana at the bottom (East) etc. Mandala depictions of this period are also characterized by marvelous background patterns, which in this case have many variations, the one of the main deity being particularly sophisticated. At the top the five Buddhas headed by Vairocana are flanked by Manjushri and Maitreya. The transmission lineage is only represented through Vajradhara and the goddess Nairatmya, who is also the consort of the main deity, in the top left corner. On the central lotus of the mandala the two-armed Hevajra embracing his consort are surrounded by the eight goddesses of his mandala. Outside the mandala propereight charnel grounds, ideal for tantric practice,are inhabited by deities, tantric adepts, and demons. In the bottom row are nine goddesses unique to the Hevajra system, which relate to the pratitioner’s senses and function as special guides to internal yoga practices.


Dancing Red Ganapati of the Three Red Deities South-Central Tibet (gTsang), Sakya (Ngor) School, 15th/16th century Pigments on cloth C2005.11.1 (HAR 89964)

The dynamically dancing elephant-headed Ganapati dominates the painting. The red of his body and flaming mandorla are contrasted with the blue stylized rocks framing it, which bring in an abstract element of landscape. Both the surface of the mandorla and the dark area outside the rocks are filled with scroll patterns. Nepalese (Beri) painting styles are used longest in areas bordering Nepal and the Ngor branch of the Sakyapa. Consequently red remains the dominant color, also for the border of the painting, which often bears a floral pattern. In the centre is the twelve-armed, red dancing Ganapati, a form of the elephant-headed god known only in Buddhism. Immediately above him, the “spirit subduer” Bhutadamara tramples a white elephant-headed deity, who in this context represents the hindrances to be overcome.The two teachers in the corners wear the rounded hats typical for the Sakyapa school, but cannot be identified individually. This god belongs to a set of three protectors known as Three Great Red Deities (dmar chen ‘khor gsum), the others being the goddess Kurukulla and the protector Takkiraja.


Dancing Ganapati Tibet, 17th century Gilt copper alloy with inlays of turquoise and pigment C2005.16.25 (HAR 65448)

The charming multi-colored metal sculpture with fine inlays converts the dynamic of the earlier Ngor School painting (no. 12) into sculpture. While the body of the deity compares well to the painting, the relative proportion of the lotus and the rat under the feet differs considerably. The knowledge of the animal’s face, the usage of several alloys and turquoise inlays for the sculpture indicate that this is the work of a Nepalese craftsman. This Buddhist form of the famous Indian Elephantheaded God, Ganesha, also known as Ganapati, is one of the emanations of the compassionate All-seeing Lord (Avalokiteshvara), patron deity of Tibet. The Elephant-headed God functions as a powerful wealth-bestowing deity, passionately red in color, ready to satisfy the needs of fervent devotees with his twelve hands as he dances atop a jewels spitting rat.


Early Tibet Early Tibetan painting also transforms East Indian derived compositions into Tibetan indigenous art forms. In Tibetan connoisseurship these works are referred to as representing the East Indian style (Sharri). From around 1200 onwards, and first within the newly established Kagyupa branch of Tibetan Buddhism, art works take on a composition that remains distinctive for Tibetan Buddhist art. The transmission lineage of the teaching is placed on top, the teaching practiced—the deity and its entourage—in the centre, and the practitioner at the bottom along with often mundane subsidiary practices. Thirteenth century representations quote Indian art extensively while later art works become considerably more independent. In general, all branches of early Tibetan art share a rather rigid organization of space and ared dominated color palette, occasionally set against a blue background. Only by the 15th century Tibetan artist become famous enough that indigenous paintings styles are named after them.

Bodhisattva Avalokiteshvara in the Tradition of King Srongtsen Gampo Central Tibet, 13thcentury Pigments on cloth C2003.50.5 (HAR 271)

This thangka with footprints and the Bodhisattva Avalokiteshvara counts among the earliest Tibetan paintings in the collection. The composition is built around the footprints, which were subsequently traced and surrounded by drawings of the other figures. The thangka is remarkable for its free execution and organization utilizing the space as it is available around the footprints. The drawing is executed in red, with only the facial features and hair added in black. Buddhas, monks and the practitioner in the bottom left corner are rendered in an ancient manner, but lack the understanding of all details. The 11-headed Avalokiteshvara of the tradition of King Srongtsen Gampo can be recognized by the stacking of the heads, with the diminutive head of Buddha Amitabha on two tires of two heads. As on this representation he also may have ten arms, one of the hands holding an image of Amitābha. In the top centre is Buddha Akshobhya, and the five Buddhas flanking him are headed by Vairocana. In the bottom centreking Srongtsen Gampo is flanked by his two wives. They are considered emanations of Avalokiteshvara, White and Green Tara. Further there are Prajnaparamita, Avalokiteshvara, Padmaheruka/Hayagriva(?) and Tara.


Buddha Vairocana Tibet, 14th century Raised gold paint (?) ornamentation and pigments on cotton F1998.3.6 (HAR 610)

The representation of the Buddha changes little over time. The round ushnisha, shovel shaped head, undulating eyes and bare shoulder are still reminiscent of the Buddha in India. The flower rosettes above the ear, they way the dress falls with a hem crossing the left upper arm and the voluminous robe are new elements and typical for the 14th and 15th centuries. The massive throne has corroded considerably, hiding most of its details. The Buddha is white, performs the teaching gesture (dharmacakramudrā) and sits on an elaborate lion throne, all characteristics of Buddha Vairocana, the Resplendent One. The two Bodhisattvas flanking him, one green and carrying a sword, the other red and holding a lotus, cannot be identified with certainty, as also the teachers in the upper corners. The painting likely was part of a set.


Goddess Ushnishavijaya Tibet; 15th century Pigments on cloth F1998.17.1 (HAR 663)

The fifteenth century marks a period of transition in Tibetan painting. Adhering to the inherited organizational principles the compartmentalization is broken and deities are shown in a variety of backgrounds. Paintings of this period often emphasize the auspicious backdrop of blossoms and the formerly diaphanous textilesreceive materiality.Also Tibetan architecture, here in particular the shape of the stupa’s dome in which the deity sits, becomes distinctive. The archetypical monuments of this period are those of Gyantse in South-Central Tibet (gTsang), to which also this painting relates best. The painting is dominated by the eight-armed goddess of long life, Ushnishavijaya, seated within the dome of an ornate marble and jewel stupa, the outline of which also forms her ruby aura. The stupa itself represents Buddha Vairocana, whose tiny representation is just above the dome. He heads the five Buddhas which flank the stupa’s top umbrella. The deities to the sides cover a wide range of functions, with protection emphasized towards the bottom. The bottom corners are inhabited by the Four Great Kings, the guardians of the cardinal directions. Note: not West Tibet


Buddha Akshobhya and the Eastern Assembly of the Sarvadurgatiparishodhana Mandala Tibet; 14th century Mineral pigment and raised gold on cloth C2010.8

Early Tibetan painting is rather strictly organized. According an internal hierarchy, each figure receives a size and space relating it to the others. This is most apparent on scroll paintings dedicated to the five Buddhas. Here Buddha Akshobhya is richly bejeweled and wears a dress of Buddhas. All jewelry is raised and gilded, as is typical for early Tibetan paintings of this subject. The Buddha is flanked by the deities that accompany him in the eastern quarter of the mandala used for the Elimination of Lower Rebirths (Sarvadurgatiparishodhana). The central Buddha is identified by his blue color, the gesture of touching the earth and the elephants of his throne. The four differently colored Bodhisattvas to the side of his legs surround him in the mandala, while the white ones flanking his head belong to the next level. To the side of the lotus are two offering goddesses, and the gate-keeper sits in the center of the throne. The outer mandala palace is filled with repeated Buddhas and its gate is protected by the four gate-keepers in the bottom centre of the painting. In the bottom corners are the protectors of the eastern and southeastern directions. Note: sambhogakaya versus nirmanakaya


Vajrasattva Tibet; 13th century Copper alloy with cold gold pigments C2009.13

In early Central Tibetan artfigures have massive heads and proportionally large hands and feet. Bronzes are of a rather dark copper alloy and are elegantwith minimal movement. Bodhisattvas have ahigh hair knot at the back of the head, crowns with large pointsset apart form each other, ribbons and circular earrings and strands of hair falling on the shoulder. They sit on a double lotus with plain fleshy petals. The large ornaments of the jewelry are graceful but have little variation.The poised Bodhisattva is bent towards the left, the head balancing the movement. At the first glance, this Bodhisattva appears to represent Avalokiteshvara, who has a lotus as his symbol. However, closer inspection reveals the loss of a vajra that once was held upright between the two fingers of the right hand, which also explains the hand’s position. The break of the lotus further indicates that there was once a bell on it. It thus is the Bodhisattva Vajrasattva, the primary Bodhisattva of the Diamond (vajra) Family, that is represented here. The lotus to the left has been added for reasons of symmetry.


Dancing Goddess Vajravarahi Central Tibet, 13th century Stone C2005.38.2 (HAR 65187)

The semi-wrathful goddess dances dynamically on a corpse lying on its back. While the tip of her left foot rests on the upper body of that figure, the right is lifted showing the palm of the foot. The posture of the arms, one raised to the side of the head, the other embracing a tantric staff (khatvanga), and the floating scarf further amplify her movement. Her bodyshares the principle features of early Tibetan sculpture as outlined with no 17. Early sculptures made of a fine soapstone are much more rare than bronzes. Vajravarahi, the Diamond Sow, is the consort of Cakrasamvara. Together and independently both deities have been prominently practices in Early Tibet. The goddess has an additional sow’s head at the side, her right arm is raised holding a curved knife (kartrka) while her left once held a skull-cup. A garland of skulls intensifies her wrathful demeanor, as do the flames on the mandorla behind the image.On the back of the stone the consecration mantra is incised at the top of the stone, other engravings are of a later date. Note: should be at least late 13th century, could also be 14th


Classic Tibet With the emergence of Gelugpa School dominance a shift from a more India-centered aesthetics towards a more China-centered one becomes apparent. It reflects the disappearance of Buddhism in India and closercultural and political ties to the northeastern neighbors China and Mongolia. In painting the occurrence of a unifying landscape and an accompanying change of the predominant color towards green are visual indicators of this shift.

This change in aesthetics goes hand in hand with the emergence of art connoisseurship and the differentiation of indigenous Tibetan paintings traditions. The 15th century Tibetan painters after whom the earliest stylistic traditions—called Menri and Khyenri—were named, become famous for their integration of China derived landscapes into their paintings. What may be designated the court style of the Dalai Lamas from the 17th century onwards is considered a further development of the Menri tradition and termed New Menri.

Mahakala, the Excellent One Tibet; 14th century Gilt copper alloy with inlays of semiprecious stones and pigment C2005.16.20 (HAR 65443)

Bronzes of wrathful deities are often rather flat and sturdy and their heads are massive. Their hair stands on end and is painted red and if they wear dress, it is either a heavy coat or armor. This form of the Excellent One appears particularly fierce, due to the large head and his gaping mouth. Otherwise only the small skulls under the crown points and the chain of severed heads point towards his wrathful nature. He wears a heavy bejeweled coat and Tibetan boots. Mahakala, the Excellent One (mGon po legs ldan) wears heavy coat and boots and holds a large sandlwood club with a jewel on top in both hands in front of thebody. He is extremely fierce and raging with blazing hair. This form of Mahakala derives from the Nyingmapa treasure tradition. In some cases there are three identical manifestations of this deity, each of them ruling one of the three world realms to tame gods and demons.


Secret Assembly Akshobhyavajra Tibet; early 17thcentury Pigments on cloth F1997.31.13 (HAR 487)

Classic Tibetan art generally unites elements from a wide range of sources. Here many stylistic elements, such as the faces, the scrolls for the background and the hierarchic organization, are still reminiscent of Early Tibetan art. In contrast, the fullness of the textiles and their patterns, Chinese style flowers and clouds, the gilding of all images, as well as the movement of the bodiesare more recent. The latter emerges with the Kyenri and is occasionally used for wrathful images in other styles as well. Unusually the deities are set against a blue sky without design. Akshobhyavajra from the Secret Assembly (Guhyasamaja) Tantra symbolically unites the five transcendental Buddhas in one. Three-headed, six-armed and holding vajra and bell and embracing a consort, he represents an ultimate (vajra) form of Buddha Akshobhya and the unification of method (male) and wisdom (female) that overcomes differentiating duality. His other arms hold the attributes of the other four Buddha families, which are also represented by the four deities in the corners. The consort mirrors his iconography. If all images are gilded, then the color of the images has no iconographic significance.


Tsuglag Gyatso, the Third Pawo Rinpoche Tibet, first half of the 17th century Pigments on cloth C2006.66.29 (HAR 825)

Painted in deep tones of green, red, and blue, this thangkashows an important hierarch, his hand and footprints, and lineage predecessors within a roughly symmetrical common landscape. There is no sense of perspective and depth is achieved through superimposing differently colored and sparselyvegetated hills, a dark green one framing a central triad. The figures beyond the high horizon are placed on clouds. The simple landscape contrasts with fine rendering of the patterns on the main hierarchs dress. Note the naturalistic rendering of the table in front of the throne holding offering vessels. The Third Pawo Rinpoche Tsuglag Gyatso(1567-1633) was an important hierarch of the Karma Kagyu branch of Tibetan Buddhism. He is not only represented in the central figure, but also through his hand and footprints. Their size, slightly uneven distribution over the canvas, and outlines suggest that the painting covers the actual prints. To the sides are two lineage transmissions converging in the bottom deity Hevajra. Note: will go into 10th Karmapa exhibit in 2012.


Forms of Mahakala and other ProtectorsCentral Tibet, Gelugpa School; 1805 to 1820 Ground Mineral Pigment on Cotton C2007.21.1 (HAR 65787)

Thiscrowded and vibrant thangkais dominated by the colors of its large deities and their bejeweled or flaming haloes.Little is visible of their environment, a black charnel ground. Unusually, the three teachers on the top are framed by flower foliage instead of clouds. Each of the nine agitated deities has its own space, but their stretched limbs, attributes and flames partly encroach the space of the neighbor resulting in a complex layering from bottom to top. The details on this painting are a delight in particular in terms of the movement of the figures, shading and facial expression. The painting is dedicated to nine wrathful deities held prominently in the Gelugpa School. In the top centre, its founder Tsongkhapa is flanked by the the Fourth Panchen Lama Tenpa Nyima (1782–1853) and the 9th Dalai Lama Lungtok Gyatso (1805–1815). In the centre is the Six-armed Mahakala, underneath him the Four-headed Mahakala. Along the left there are the Six-armed White Mahakala above and the Mahakala in form of a Brahman ascetic below. Opposite them are Magzor Gyalmo and Yama Dharmaraja. Below are the worldlyprotectorsBegtse and ### as well as the wealth deity###.


Physician Yutog Yontan Gonpo and Medical Deities Tibet, 18th century Pigments on cloth C2006.66.176 (HAR 185)

Red background paintings are commonly used for topics with an association to Buddha Amitabha, Avalokiteshvara or Padmasambhava, all representing the lotus family. Here the selective usage of green for trees, rocks and foliage, pinkish myrobalan fruits and grayish clouds, give the otherwise abstract color scheme a naturalistic touch. Only a closer look at the red background reveals its landscape details, clouds above and islands of solid ground in water, inhabited by ducks, below. The offering table in front of the main figure is rendered in the usual perspective that has no connection to the rest of the painting. Yontan Gonpo is the prime representative of an important medical tradition, the Yuthog Nyingthig. His youthful cleanly shaven face, the unusual lotus crown, and his attributes—the sword and book representing knowledge and the vase filled with a triple jewel symbolizing long life and abundance— mark the outstanding qualities of this lay practitioner.At the top, the five Buddhas are shown in an unusual semi-wrathful form embracing their consort and holding a skull-cup in addition to their family attributes. Four goddesses of offering dance around the main figure. At the bottom the central horse-headed Hayagriva is surrounded by four yoginis.


Black Thangka of Rahula and his Assembly East Tibet, Karma Kagyu School, late 19th century Pigments on cloth C2010.13 (HAR 65864)

Black backgrounds are characteristic for paintings dedicated to wrathful deities. Vultures and other animals feeding themselves on human corpses at the bottom of the painting identify the environment as the ground where the dead are deposed off. The red sea of blood in the middle ground and dark clouds, as they are used for the figures in the upper area, black birdsencircling them, form the ideal background for the variegated flaming halos of the agitated main deity and his host and the highlights in gold on them. Such interplay of variation and symmetry in the coloring and movement of the figures is characteristic for high quality black thangkas.

Rahula, here in the centre of a 15-deity assembly, is a wrathful protector of the Revealed Treasure Tradition of the Nyingma School that eventually was practiced in other traditions as well. This derivation is documented in the upper area of the painting, which illustrates the teaching transmission. In the top centre is a triad of Shakyamuni, Padmsambhava and Vajrapani, the deity of which this particular Rahula practice derivates. The four teachers flanking the triad are from left to right the treasure revealers Padma Ledreltsal (b. 1248), Gya Zhangdrom, Ngagi Wangpo (1580–1639) and, surprisingly, the 10th Situ Padma Kunzang (1854–1885), the latter dating the painting to the late 19th century.

Note: The backside has a large makara banner drawn in red on it, which certainly is a rare, if not unique feature. There is also a two line inscription in black ornamental characters in the centre of the banner.


Samvara in Union withVajrayogini Tibet; circa1400 Gilt copper alloy with pigment C2005.16.16 (HAR 65438)

This great bronze is finished in the round, graceful and hasmany delicate details.The divine couple embraces each other in a posture of both stillness and movement. The figures are slender, have long limbs and full faces. Their beautifully painted faces and heavy floating scarvesappear frozen in time. Their jewelry is havy and beautified with turquoise inlays. Only a master artist can achieve such a natural union of symbols, representation, and aesthetic appeal.The elegant bronze also demonstrates the continuing importance of Nepalese craftsmanship in Tibet. The halo once attached to the back is missing today. Samvara is the primary meditational deity (yidam) of the Kagyu Schools but also is prominently practiced beyond. In the two-armed “innate” (sahaja) form he embraces his partner Vajravarahi holding vajra and bell. Trampling on the Bhairava and Kalaratri, the wrathful manifestations of the divine couple Shiva and Parvati, as obstacles to be overcome, Samvara also assumed many of Shiva’s iconographic characteristics, most obvious being the crescent in the high hair knot.Embracing her pertner with the left arm, Vajravarahi holds skull-cup (kapala) and curved knife (kartrka).


Pratisara, one of the Five Protector Goddesses Tibet, 14th century Gilt copper alloy C2005.16.21 (HAR 65444)

The slender and elegant goddess bears typical characteristics of 14th century sculpture. The slim figure is slightly bent towards the left and her multiple heads and arms are stacked in a way that makes them almost appear natural. The scarf floating at the side forms a trilobed halo at the back of the head and is accentuated by triangular shaped ornaments. The inlays are mostly turquoises. The double lotus base with it’s slim petals can be compared to Yongle period bronzes made by Nepalese at the Chinese court in the early decades of the century. The Five Protector Goddesses (Pancha Raksha) are personifications of five early esoteric Buddhist spells, verbal utterances with a certain protective power. Of the five Pratisara(So sor ‘brang ma), protecting from sin and illness, is often primary. The goddess has four faces and eight arms. She holds a sword and an axe (lost) in the main arms in front of her body. Her other hands hold, a wheel, arrow and bow, a unusual role like object instead of a trident, and a vajra. The upper left hand must have held a vajra-tipped noose.


Lukhang Murals The Lukhang Temple, the “Dalai Lamas’ Secret Temple”, is located in a pond near the Potala Palace in Lhasa. It’s name refers to the water spirits (klu) tamed with its construction around 1700. This room containslife size photographic reproductions of murals in the Lukhang, predominantly from it’s third floor. The state of the art reproductions shown allow for an even better view of the murals than commonly possible in the monument itself, and their display conveys the richness of murals in a Tibetan Buddhist temple. Stylistically they are an example for the artistic tradition associated with the Dalai Lamas (New Menri).

The third floor murals are renowned for theirunique depictions ofyogic exercises and esoteric meditation practices. They are illustrations of a distinctive corpus of revealed treasure teachings on the Great Perfection (Dzogchen) recovered by the Tibetan/Bhutanese scholar Pemalingpa (1450-1521). The murals further illustrate how Tibet became the suitable ground for these teachings, and links them back to the yogis and mahasiddhas of India. A chapel on the ground floor represents the kings of mythic Shambhala, who, according to the tradition, transmitted the Kalacakra Tantra before it reached earth.

Tibetan Art Styles The Gardri or “Encampment Style” represents the main artistic tradition supported by the Karma Kagyu branch of Tibetan Buddhism. The style is named after the encampment of the Karmapa, which usually was located in East Tibet. In this artistic tradition, the landscape opens up and occasionally only a bare minimum remains. The relative size of the figures to the canvas reduces increasingly.

Following Indian proportional (iconometric) conventions throughout, the representation of deities changes little over time, and mostly in the representation of dress and ornaments. Tibetan artistic traditions are much more strongly defined by the environment of the deities. Contrasting Central Tibetan and regional artistic traditions with the Gardri makes the eclecticism and main stylistic trends of Tibetan art most apparent.


Sixth Shamar Mipam Chokyi Wangchug (1584-1630) Kham Provence, Tibet; 18th century Mineral pigment on cloth Rubin Museum of Art C2007.34.1 (HAR 65804)

The elaborate and heavy throne dominates the painting and emphasizes the teacher on it.The throne is set into a landscape opening towards a valley with coniferous trees, as characteristic for the region the painting hails from. This seemingly natural setting is contrasted with the artificial blue green rocks on the foremost right river shore and the crocked fruit-bearing tree behind the throne, both deriving from Chinese painting. The teachers have colored transparent haloes while the beautiful dancing goddess in the upper right corner is placed in front of a solid disk of flames. In this painting the Sixth Shamar (Red Hat), Mipam Chokyi Wangchug (1584–1630), wears the distinctive hat of his incarnation lineage. Holding the stems of lotuses that bear a sword and a book he is identified as emanation of the Bodhisattva of Wisdom, Manjushri. He sits off centre and directed towards a central painting ofa set of paintings showing Masters of the Combined Kagyu Lineages made at Palpung. In the top right corner is the semi-wrathful goddess Kurukulla. A group of related masters and students includes the Fifth Gyaltshab (1618–1658), the Fourth Drung ba Kunga Namgyal (born seventeenth century), and Karma Chakme (1613–1678). Note: will go into 10th Karmapa 2012


Dancing Vajravarahi with Assembly of Seven Bhutan; Drugpa Kagyu School; 18th century Mineral pigment on cloth and silk brocade C2009.18 (HAR 65858)

This remarkable painting strongly emphasizes the figures, which are rendered with amazing care and fondness for detail. Besides the fine jewelry the naturalistic sow’s head at the side of the main one, and the detailing of the curved knifeagainst the mandorla rim are extraordinary. The dynamic goddesses stand against contrasting pointed mandorlas the broad flaming edges of which are either naturalistically rendered or ornamental, as with the main goddess. The figures, including the teachers on top, are placed against an almost uniformly dark green landscape that rather conveys the sense of an artificial stage. The central Vajravarahiis surrounded by the retinue of her mandala, which is of identical iconography but without the sow’s head. Unusually, the upper right yogini dances on her right leg instead of the left. In addition,a white form of the goddess is represented in the bottom centre. The three teachers on top of the painting set the painting in a Bhutanese and Drugpa Kagyu School context. Particular distinctive is the teacher on the left due to his dark blue hat with a red and gold trim. Note: slots 39 to 41 are closely related paintings to be shown side by side


Vajravarahi with Brahmanarupa Mahakala Tibet; Sakya School;20th century Pigments on cloth Rubin Museum of Art C2006.34.1 (HAR 65631)

This representation of Vajravarahi and her retinue is remarkable for its crisp colors, the movement of the figures and the large flowers at the edges of the painting. The dancing goddess surrounded by blazing flames is placed in front of an artificial lotus pond within a lush blue green landscape with snow-capped mountains in the back. Brahmanarupa’s retinue, four ogresses, surrounded by differently colored smoke radiate in dynamic fury. In contrast, the lineage holders placed on clouds against a deep blue sky express equanimity. Vajravarahi, Diamond Sow, is red in color and has a sow’s head projecting atthe side of her head, which identifies her. Directly above Vajravarahi is King Indrabhuti, the originator of this particular form of the deity. He is flanked by two important figures of the Sakya tradition, Sachen Kunga Nyingpo (1092-1158) and Tsarchen Losal Gyatso (1502-1566). Underneath is Mahakala in the Form of a Brahman (Brhamanarupa) surrounded by four ogresses of different colors.


Machig Labdron, the Tibetan Yogini East Tibet, 19th century Pigment on Cotton C2010.3 (HAR 57037)

In this Gadri style painting the landscape opens up, the deities are small in relation to the canvas, and the horizon is low. Further, the landscape itself is almost void of distinctive features, as if the Tibetan plateau has been reproduced here. The deities and teachers at the top are placed on high clouds or in the sky above them. Typical is also the shape of the clouds with four stroke recesses at the billowy parts and the straight cuts at their thin extensions. Machig Labdron was a Tibetan women (1055-1153), a principal disciple of the Indian masterPhadampa Sangye, who founded the Cho (“Cutting”) practice tradition of Tibetan Buddhism. White in color, dancing, and holding a hand drum and a bell she appears as a “wisdom dakini” with bone ornaments. At the top center is the primordial Buddha Vajradhara, accompanied by the five transcendental Buddhas, Prajnaparamita and, below them, Shakyamuni. Padamapa and Vajrayogini on the dark flat cloudsset the main figure in context. At the bottom are the meditational deity Troma Nagmo—wrathful form of Vajravarahi—and the worldly protectors Tsi'u Marpo and Chang Shon.


Mahasiddha Naropa in a Chinese Landscape Eastern Tibet (Dragyab, Chamdo); 19th century Mineral pigments on cloth C2005.20.4 (HAR 65496)

In this thangka the pastel colored softly shaded background and figure style contrasts with the brightness of throne, ritual implements, and dresses.Despite its fine gilding and painted décor the throne of the great adept is unusually geometric and unrealistic. The landscape is restricted to that nearby, the crocked tree, with a couple of birds on its branches, and the pair of cranes to the side of it. Unusual attention is given to the diverse offerings in front of the throne, including a plate of different meats. On the wide, richly decorated throne sits the Mahasiddha Naropa, slim and white-skinned, wearing a scholar’s hat. His right hand is raised in the gesture of fearlessness (abhayamudra) and his left rests on the knee in an argumentation gesture. His gaze is directed upwards towards a small red dakini flying in the sky. Above him, his ritual implements are placed on a table in the tree, diverse offerings are placed on the ground in front of his throne. At the bottom left a certain Lobzang Dondrub is identified by inscription, the other figure is unidentified. Note: The right side of the thangka has been severely damaged historically, some of the present details stemming from a restoration.


Green Tara in the Style of the Tenth Karmapa Tibet; 17th century Brass with pigments C2005.16.3 (HAR 65425)

Few metalwork can safely be attributed to the East Tibetan regions, among them by far the most remarkable are associated with the artisanship of the 10th Karmapa Choying Dorje (1604–1674). The artist is particular remarkable for his fondness of fleshy nature. In this bronze a lotus base deriving from the Northwest Indian region of Swat and indic body conception are combined with an East Asian face and voluminous hair and lotus flowers. The blossoms on the halo and the finial with a couple of bird add further elements of nature. Despite the unusual style the iconography of the goddess Green Tara is following old conventions. Seated with a light sway in the body in a posture of royal ease (lalitasana), the pendant leg supported by an branch of the main lotus seat, the goddess performs the gesture of giving (varadamudra) and holds the stalk of a blue lily in her left hand. Diverting from the usual, at some stage both flowers have been painted red. In the hair the small image of Buddha Amitabha, holding a begging bowl in his hand, attributes the goddess of compassion to the lotus family. Note: will go into 10th Karmapa exhibit 2012


Towards East Asia Although Tibetan Buddhist art was predominantlyoriented towards India, Tibetan culture both influenced and absorbed successive Chinese artistic traditions. The connections were particularly close, when the Chinese emperor adopted Tibetan Buddhism and invited Tibetan teachers to the Chinese court. Hence, Chinese imperial workshops at times adopted Tibetan Buddhist art, and Tibet became a repository of Chinese art. It was the impact of such objects that eventually led to the adoption of landscape in Tibetan painting.

Mongols were already intimately involved in Tibetan affairs during the Yuan dynasty, when they ruled China. Later, with the rise of the Gelugpa School, Mongol tribes directly aligned with branches of Tibetan Buddhism and converted to it. The Buddhist art of Mongolia thus approximates that of Central Tibet, but also created art that is distinctive in subject, material and/or style.

Mahachakra Vajrapani China; early Ming dynasty (1368–1644) late 14th/early 15th century Silk and gold embroidery C2003.52.1 (HAR 65108)

Precious embroideries of this high quality are considered Chinese imperial products, independent of their subject and stylistic characteristics. Here a 14th century Tibetan composition has been copied. Characteristics are the lotus and vase columns to the side of the throne and the eagle (garuda), snake (naga) and sea-monster (makara) arch on top. An addition are the Chinese style clouds above the throne’s arch holding disks with Tibetan syllables of Vajrapani’s mantra written on them. In the centre is Mahacakra a form of Vajrapani, who is shown in the crown. The deity is three-headed and six-armed and can be recognized by the unusual gesture of the main pair of hands and the snake in the second pair. The vajra held in the raised right hand and also reproduced on the cloth in front of the throne are further identifiers. The mantra “om vajrapani hum” is written on the disks above. In the top corners are Yama Dharmaraja and Nairatmya.


Manjushri with Narrative Scenes East Tibet; 18th century Pigments on cloth C2006.40.1 (HAR 65685)

The central Bodhisattva sits on a richly ornamented throne placed in the shade of a solitary tree on a wide grassy plain. The group around the Bodhisattva occupies the central half of the canvas. In the background a Buddha preaches a larger assembly onthe slope of a hill topped by coniferous trees. The proportions of the figures there are repeated for the scenes in the foreground, dwarfing them in relation. Both the pastel colors and details strongly reflect Chinese artistic sensibility, but color notations in Tibetan script reveal that the painter was a Tibetan. The orange Bodhisattva of wisdom, Manjushri, sits in royal ease (lalitasana) with his right hand in front of the breast in the argumentation gesture (vitarkamudra). This hand, as well as the one resting on the knee, hold the stalks of lotuses carrying his identifying attributes, a sword and a book. The surrounding figures are engaged in making offerings and veneration. At the top and bottom are small narrative scenes, possibly depicting his previous lives. This is an unusual theme to find illustrated, and based on comparisons to other known sets, this work would likely have been the fifth painting from a set of seven.


Standing Arhat China; dated 1439 Gilt copper alloy F1997.31.18 (HAR 700018)

In Chinese painting and sculpture robes take precedence over the body. This Arhat wears a heavy robe with very wide sleeves, reaching down to knee-level, and shoes with an upturned tip. The figure’s bumpy cranium and obvious neck cords are typical Chinese visual clues of his advanced spiritual state. In Chinese Buddhist art, gestures are less loaded with a specific meaning, this one being a frequent gesture of greeting and paying respects. Arhats (Chinese: Lohan) are the earliest followers of the Buddha and are always found in sets ranging from sixteen to five hundred. This one is not identified, but a Chinese inscription on the top of the lotus base provides a date for this image, placing it within the Ming Dynasty (1368–1644). A two-character inscription on the back indicates the sculpture’s placement: it is the fifth image in the set.

Coral Mask of Begtse Mongolia; early 20th century Paper maché, coral, metal, fabric C2006.41.1 (HAR 65692)

In spite of the unusual materials used, this extraordinary dance mask of the worldly protector Begtse (Jamsaran in Mongolian) follows the usualproportions and conventions. Despite their difference in religion, culture and age, many details can still be compared with the Nepalese Bhairava mask across the hall, in particular the general facial proportions, the rendering and placement of the facial hair, as well as the skulls used in the crown. Coral masks of Begtse are unique to Mongolia though, less than ten of them are known. Begtse gained importance there as protector of the Bogda Gegeens, the leaders of Mongolian Buddhism. Note: one could use a picture of a coral mask dancer here > catalogue Beguin

The goddess is seated in a relaxed pose


Goddess Marichi Mongolia; late 17th/early 18th century Gilt copper alloy C2005.16.26 (HAR 65449)

with a considerable movement in the hip counterbalanced by the upper body. As if expressing this balance, she holds a vajra upright at its tip between the breasts. Her round face, the patterned etching on the garments, some of her ornaments such as the distinctive lotus-jewel crown and S-curve armlets, as well as the multileveled lotus base are all characteristic of Mongolian sculpture from the time of the great Mongolian artist and teacher Zanabazar (1635–1723). In this simple form the goddess Marici (Marici eke in Mongolian) is understood as personification of a magic spell. The two-armed form of the goddess, is yellow, holds a vajra in her right hand and a branch of the ashoka tree in her left. This figure most likely accompanied one of the 21 forms of the goddess Tara, and was seated to her right.Possibly, this sculpture is from a set attributed to Zanabazar himself, now in the Bogdo Khan Palace Museum, Ulaanbaatar, Mongolia.

Nine Deity Offering Mongolia; 19th century Ground Mineral Pigment on Cotton F1996.21.3 (HAR 478)

This type of painting depicting the objects and attributes of wrathful deities along with offerings to them would commonly hang in special chapels of monasteries devoted to protector deities. Despite the subject the painting has a uniform background suggesting a grassy ground at the bottom, a foggy horizon and a blue sky. Hanging from the top edge of the sky are heads, felts, flayed skins intestinesand bones, a wrathful valance demarcating the space. Located at the center of this painting above a lotus are the handheld objects, garments and ornaments of Vajrabhairava, one of the most important personal meditation deities of the Gelugpa tradition, to which most Mongolians adhere. Four more deities on each side flank him. Along the bottom of the painting, among the many offerings


made to the wrathful protector deities, are the five snouts of whom the Mongols are quite fond: horses, bovines (cows and yak), camels, sheep, and goats.

Protective Goddess Magzor Gyalmo Mongolia; 19th century Wood painted with pigments C2002.38.1 (HAR 65251)

In contrast to metal objects, sculptures in other materials are often brightly painted. Complementing fine modeling or carving such images are extremely lively. This impressivewood image must have been part of a set of wrathful deity sculptures in a major monastery. Magzor Gyalmo, the Queen that Repels Armies, is a specific form of Palden Lhamo (Shri Devi)with one face and two hands. Usually she holds a vajra tipped staff in her right hand and a skullcup in her left, none of them preserved here. She rides side-saddle atop a mule. Above her head is a large peacock feather parasol. Besides her garment, she wears ornaments of skulls and severed heads, and both her mantel and her saddlecloth are flayed human skins.

Documents

Masterworks: Jewels of the Collection - docs.rma2.orgdocs.rma2.org/Masterworks Exhibition Guide.pdf · Masterworks: Jewels of the Collection ... Guhyasamaja Manjuvajra Kashmir/Himachal