The Strangely Glorious World of Tibetan Thankas

Thankas are sacred scroll pictures depicting Buddhist deities, mandalas, saints, and revered lamas which are used by the Tibetan nomads. They can be rolled up and be easily carried on their migrations. From there Thankas became a fixture in all Tibetan shrines and monasteries. Lavishly framed in colorful silk brocade frames every gompa and every private meditation chapel owns a number of these scrolls.

Their history goes back to the Buddhist temples in Nepal and Serindia where silken prayer flags of the 4th century were found. Tibetan thankas from the 13th century (second dissemination of Buddhism in Tibet) have survived, often in poor condition. Painted on cotton canvas they are fragile objects. Several Western museums and private collectors own large numbers of these scroll pictures.

The texts (by Jeff Watt) and images of this collection were copied from the website of the

Himalayan Art Resources
17 West 17th St., 9th Fl.
New York, NY, 10011
USA

for the interest, education and pleasure of my friends. Among the items are 3 thankas in my possession.

The American Art Association exhibits hundreds of thankas and Tibetan sculptures on their website, a treasure trove for anyone interested in this subject. I have selected some fifty examples and arranged them strictly by their esthetic value. The quality of the digital images is intentionally low, they are not suitable for printing. For high-resolution reproductions search the HAR website.

Rolf Gross, Pacific Palisades, 2007

The Wheel of Life

Mongolia
1800 - 1899
Ground Mineral Pigment on Cotton
Collection of Rubin Museum of Art

The Wheel of Life (Tibetan: sid pai kor lo. Sanskrit: bhavanachakra).

An especially clear example of a more complex than usual Wheel of Life.

Held in the tight grasp of Samsara personified (cyclic existence) seen as a fierce wrathful figure, red in colour, with one face and two hands, the circular disc is pressed up against the mouth ready to be swallowed at any moment - the immediacy of impermanence. This wrathful figure is sometimes referred to as Yama, the Lord of Death, and at other times as the red female daemon of death, possibly Yami, the sister of Yama.

First: The inner most of the 4 concentric circles shows a black pig (ignorance), green snake (anger) and a rooster (desire) circling on a blue background. They are often shown biting on each others tail.

Second: The next circle, made of a white half and a black half, shows those individuals that have performed meritorious actions (good karma) moving upwards in the circle of existence and those having performed bad actions moving downward, naked, led by red and green attendants of the Lord of Death.

Third: The widest of the circles is that of the six realms of existence; gods, asuras (anti-gods), humans, animals, ghosts (preta) and hell. Each segregated by a red dividing line. At the top is the Realm of the Gods highlighted by a heavenly being in a palace playing a stringed instrument. To the right is the Asura Realm, a lower form of the gods always engaged in conflict. To the left is the Human Realm and below that is the Animal Realm. To the lower right is the Realm of Pretas. At the bottom is the Hell Realm with a central blue figure, wrathful, holding a stick in the right hand and a mirror in the left. This is Yama Dharmaraja, the Lord of the Dead, King of Judgement (the Law of Karma). He holds a mirror to reflect those actions (and consequences) performed by each individual that comes before him. In each realm the various beings are portrayed engaged in their respective activities along with the occasional buddha or bodhisattva.

Fourth: The outer circle is composed of 12 scenes which represent the Twelve links of Dependant Arising starting at the bottom left with three blind figures (#1 ignorance) and then moving clockwise around the Wheel of Existence to meet again at the bottom right where two figures carry bundled corpses to the funeral pyre (#12 old age and death).

Yama the Lord of Death, although portrayed in the Hell Realms, actually resides in the Realm of Ghosts and is the King of the Pretas. He lives in the city of Pretas, Kapila, 500 miles below the classical north Indian city of Rajgir and is accompanied by 36 attendants. His association with the Hell Realms is in the capacity of a judge of karma, good and bad deeds.

This model of Buddhist cosmology, the environment and inhabitants, is based on the Abhidharma literature of the Theravada and Sutrayana vehicles. Within the Vajrayana system various divergent models are presented with the foremost being that of the Kalachakra Tantra.

Amitayus Buddha

Tibet
1600 - 1699
Kagyu Lineage
Ground Mineral Pigment on Cotton
Collection of Shelley & Donald Rubin

Hevajra - Vajrapanjara Tantra Mandala

Tibet
1400 - 1499
Sakya Lineage We saw this mandala in Shalu Gompa (1995)
Collection of Rubin Museum of Art

Shri Hevajra Panchadaka Mandala (Tibetan: pal gye pa dor je rig du kyil kor. English: The Combined Glorious Hevajra Five Lords Mandala) with 49 Deities from the Vajrapanjara Tantra.

Within the center of the two-dimensional circular diagram representing the top view of a three-dimensional celestial palace are five smaller square mandalas each containing a form of Shri Hevajra with 9 deities. In the central square is Akshobhya-Hevajra, blue in colour, with eight faces, sixteen hands holding skullcups and four legs in a dancing posture. The first pair of hands embrace the consort Vajra Nairatmya (Selfless One), dark blue, with one face and two hands holding a curved knife and skullcup. They stand atop four corpses within the flames of pristine awareness surrounded by eight goddesses of various colours in a dancing posture. Beginning from the top and moving in a clockwise direction is Vetali, Dombini, Ghashmari, Pukkashi, Gauri, Shavari, Chauri, and Chandali. They all hold their own distinct hand objects.

Surrounding the Akshobhya Hevajra mandala, in the square above, is the deity Amitabha-Hevajra, red in colour, embracing the consort red Pandara Vasini. In the square to the right is Amoghasiddhi-Hevajra, green in colour, embracing light green Samaya Tara. In the square below is Vairochana-Hevajra, white in colour, embracing pink Vajradhatvishvari. In the square to the left is Ratnasambhava-Hevajra, yellow in colour, embracing orange Buddha Locani. Surrounded by their own unique circle of variously coloured eight goddesses each set of figures is otherwise identical in appearance to the central Hevajra.

The floor of the celestial palace is divided into four colours: red, green, white and yellow. Four empowerment vases adorn the four squares of the intermediate directions. The outer red, blue and white lines forming a square enclosure represent the red veranda outside of the palace walls and the stylized decorative facade on the four sides of the palace roof; adorned with upright spears, arrows and banners. The elaborate lintels above each of the four doors are constructed of four tiered steps, red, blue, green, and yellow, topped with a Dharma wheel and two reclining deer with a silk canopy above. The palace is placed squarely on a horizontal multi-coloured double vajra with only the prongs and makara heads (an Indian mythological sea creature) appearing on the four sides. Surrounding that is a circle of multi-coloured (rectangular) lotus petals representing the enormous lotus upon which the entire palace structure rests.

The outer circle containing eight sets of various figures is the ring of the eight great charnel grounds: Gruesome, Frightful with Skulls, Adorned with a Blazing Garland, Dense Jungle, Fiercely Resounding, Forest of the Lord, Dark and Terrible and Resounding with the Cries Kili Kili. They are filled with corpses, fires, chaityas, yogis, nagas, wild animals and wrathful worldly deities. The final ring is composed of the multi-coloured fires of pristine awareness completely enveloping the entire Hevajra Pancadaka Mandala.

Along the top are the lineage gurus. Along the bottom are 9 goddesses of various colours in a dancing posture.

Shri Hevajra Panchadaka is a tutelary deity of the Anuttarayoga non-dual classification. From the many Hevajra Tantras this representation arises from the Vajra Panjara Tantra and was used in Tibet by the Sakyapa and Ngor Lotsawa Lineages.

The style of the painting is Nepali, evidenced by rigid geometric form, the use of bright red and blue colours and the intricate floral patterns used in the background design and flame patterns.

T Sakya Pandita Kunga Gyaltsen

Central Tibet
1700 - 1799
Gelug and Sakya Lineages
69.85x41.91cm (27.50x16.50in)
Ground Mineral Pigment and Fine Gold Line on Cotton
Collection of Rubin Museum of Art

Sakya Pandita, Kunga Gyaltsen Pal Zangpo (1182-1251), the sixth throne holder of Sakya, debating with the Indian Tirtika Harinanda. Painted from a famous set of blockprints portraying the lives of the Panchen Lamas.

In a vigorous posture of debate, wearing a red pandita hat and attired in the patched robes of a fully ordained monk, Sakya Pandita performs the debating gestures of snapping the fingers of the right hand prior to clapping with the left. The right leg drawn up and the left pendant, supported by a step, he sits atop a yellow cushion seat with an elaborate backrest adorned with dragon heads; draped in ornate brocades. To the right a flowering bush with alternating white and red blossoms forms a symbolic staircase to the guru above. In front to the lower right sits the naked Indian Harinanda, brown, with long twisted hair, seated on an antelope skin, attended by a servant with a white turban.

To the left and back of Sakya Pandita, against a green lush and varied landscape, unfolds a temple scene before a standing image with worshippers offering wicks of flaming butter in golden lamps.

At the top left is the patron deity of Sakya Pandita, the bodhisattva Manjushri, Stirachakra, with one face and two hands holding a wisdom sword and lotus supporting a Prajnaparamita book; seated within a glowing nimbus sphere of emanated light. At the right is the root guru and uncle, Jetsun Dragpa Gyaltsen (1147-1216), holding a vajra extended in the right hand and a bell turned up at the waist in the left. Attired in the variously coloured garments of a layman, seated on an ornate cushion with a backrest, he resides above gently spreading clouds.

At the bottom left is the protector of the Guhyasamaja Tantra, Chaturmukha Mahakala (the Four Faced Black Lord), wrathful visage of Brahmarupa Mahakala, with four hands and charnel ground vestments of skins and bones, he stands upon a corpse seat amidst the swirling flames of pristine awareness.

Inscription along the bottom front: "With the compassion of the great Jetsun Dragpa Gyaltsen and the tutelary deity Stirachakra, Sakya Pandita defeated the Tirtikas with the assistance of the wrathful Four-faced One."

Historical Background: After the Sanskrit publication of Sakya Pandita's definitive treatises on Buddhist logic, the Tse ma rig pi ter, his fame spread throughout eastern, western and central India. Wishing to debate with Sapan, six Indian Tirtika pandits with Harinanda at the lead traveled to Kyirong in Western Tibet (circa 1232). After 13 days, unable to win in philosophical debate, Harinanda said, "it is not you I cannot defeat, it is the orange being sitting above your right shoulder." Then, challenging Sapan to a test of miraculous powers he flew into the air. With one clap of the hands by Sapan - Harinanda fell to the ground. Accepting defeat the six Tirtakas took refuge in the Three Jewels and offering their long twisted hair each received the vows of a Buddhist monk. Until 1959, the braid of Harinanda was kept before an image of Manjushri in the Utse Nying Sarma temple in the town of Sakya.

Medicine Buddha

Tibet
1400 - 1499
Uncertain Lineage
39.37x38.74cm (15.50x15.25in)
Ground Mineral Pigment on Cotton
Collection of Shelley & Donald Rubin

Medicine Guru Buddha (Tibetan: sang gye men la)

The Guru of Medicine (Sanskrit: Bhaishajyaguru) is also known by the name Vaidurya Prabha Raja, the 'King of Sapphire Light.' Dark blue in colour, with one face and two hands he holds in the right, in the gesture of generosity, a myrobalan fruit (Latin: terminalia chebula. Skt.: haritaki). The left hand is placed in the lap in the mudra (gesture) of meditation supporting a begging bowl with the open palm. Adorned with the orange and yellow patchwork robes of a fully ordained monk, the left arm covered, he appears in the nirmanakaya aspect of a fully enlightened buddha. In vajra posture above a moon disc, he sits on a multi-coloured lotus and ornate lion supported throne with a back rest upheld by two standing horses and columns supporting a decorative headboard. To each side of Medicine Buddha stand the two principal bodhisattva attendants. To the left is the yellow bodhisattva Suryabhaskara and to the right is white Chandrabhaskara.

Directly above the central figure is the buddha of long-life, Amitayus, pink, seated with the hands in meditative equipoise. To the right is the buddha Ashokattamshri, pink, with the two hands in meditative equipoise, flanked by two standing bodhisattvas. To the right of that is Suvarnabhadra Vimala, white, with the hands in the Dharma teaching gesture. Below that is Abhijnaraja, pink, with the right hand in the gesture of generosity and the left in meditative equipoise. Below that is the primordial buddha Vajradhara, blue, holding a vajra and bell crossed at the heart.

To the left of Amitayus is buddha Shakyamuni, seated, flanked by two standing bodhisattvas. On the left side is Suparakirtita Namashri, yellow, with the right hand in the gesture of giving protection and the left in meditative equipoise. Below that is Nirghosharaja, with the right hand in the gesture of generosity and the left in meditation. Below that is Suvarnabhadra Vimala, yellow, with the two hands in the Dharma teaching gesture. Each buddha is flanked by two bodhisattvas. Excluding Shakyamuni and Vajradhara, these six are referred to as the brothers of Vaidurya Prabha - Medicine Buddha, and together they are known as the 'Seven Buddhas of Medicine.'

Along each side of the lion throne are the Four Direction Guardians, to the left are Virudhaka and Dritarashtra and to the right Virupaksha and Vaishravana. Below that are two rows of figures. The upper row contains the ten Gods of the Directions each riding on a different animal mount. At the far right side are two additional figures, yellow and white, mounted on chariots and the lower row of figures comprise the 12 Yaksha Generals.

At the top left corner is the buddha Shakyamuni followed from left to right by the guru lineage descending down to the earliest Tibetan lineage holders. The form and practice of Medicine Buddha is derived from the Bhaishajyaguru Sutra taught by Lord Shakyamuni. In the Vajrayana Tradition this sutra is classified as a Kriya Tantra. Common to all schools of Tibetan Buddhism Medicine Buddha is especially important to the Tibetan medical tradition.

Arhat Bakula

Central Tibet
1600 - 1699
69.85x59.69cm (27.50x23.50in)
Ground Mineral Pigment on Cotton
Khyenri Painting School
Collection of Shelley & Donald Rubin

Bakula, the Elder (Sanskrit: Sthavira Bakula): the 9th arhat from the set of 16 great arhats, the principal students to the buddha Shakyamuni.

Mature in years, slightly crazed with long eyebrows, and a full dark beard he holds with both hands an unrolled scroll text in Chinese style across his lap. The head is covered with a yellow scarf tied in front and he wears a dark blue jacket with gold floral designs. The left shoulder is covered with an orange and green patchwork robe. Seated in a relaxed posture atop a grassy knoll the head is surrounded by a dark green areola framed with pink billowing clouds. In front atop a footstool of gnarly brown roots are the shoes of the Elder.

At the right side a monk attendant holds in the right hand and supported on the shoulder a large fan ringed with peacock feathers. The left holds a mala of prayer beads. Attired in brocade robes of rich blue, yellow and red colour, he converses with a young laywoman holding a large bundle with both hands. At the left is a rough table made naturally of roots and branches topped with two gold vessels. A large golden bird with a craning neck looks toward the Elder. The background is filled with sharp rising mountains of green and blue, clouds of various colour and partially hidden mountain temples.

"To the noble elder, the great Bakula of Northern Kuru, surrounded by a retinue of 900 arhats; to the feet of all those I bow." (Sakya liturgical text).

Living as an ascetic, late in age he embraced the Buddhist path after meeting with the Tathagata Shakyamuni. Receiving ordination as a monk and renowned for having a deep faith he quickly attained the level of an arhat. The special blessing that he bestows is the basic material needs and requisites for anyone seeking to follow the path of Buddha. The Elder Bakula is most commonly portrayed holding a mongoose, however there are several different and varying traditions graphically depicting the arhats. A written inscription in gold lettering on the lower front of the painting clearly identifies the subject as the Noble Bakula. The Sixteen Great Arhats are generally painted as a set. Typically the full group would include the buddha Shakyamuni, the 16 arhats, the attendant Dharmatala, the patron Hvashang and the Four Guardians of the Directions: Vaishravana, Virupaksha, Dritarashtra and Virudhaka.

Rolf’s Milarepa

Nepal – Tibet Acquired in Kathmandu in 1986

The original is supposedly at Lapchi Monastry

Date of the original perhaps 1600-1700

Our first thanka. Milarepa (1052-1135) is the celebrated poet, teacher, and lineage holder of the Kagyu School.. His teacher was Marpa and his most famous student Gampopa the physician. To this day his songs are still sung by the people of Tibet.

Milarepa sitting on a gazelle skin was singing one of his famous songs when an exhausted deer appeared on this lovely meadow. He inquired into the deer’s plight, and the deer told him that it had been followed by a vicious hunter wanting to kill it. Milarepa didn’t have to wait long before the hunter appeared with his bow. Outraged that Milarepa was harboring the deer he claimed as his prey he shot an arrow at the poet, which missed its mark. He tried two more arrows which were easily deflected by the magician. Red-faced the hunter rushed his dog, who on a word by Milarapa quietly lay down next to the deer. The hunter was confused. This had never happened to him. He said, “You must be a great yogi to evade my arrows.” Milarepa confirmed that and invited the hunter to become his dharma student. - The story goes on for a while. The hunter feeling honored accepted the invitation, but first he had to go home and tell his wife. Milerapa sensing that the man would never return to the austere life of a yogi, obliged him to swear off hunting, take off his worldly clothes and made him sit at his feet right then and there.

In the background Milarepa is shown sitting in a cave receiving his enlightenment. Birds and other animals are hidden in the trees and bushes. A lovely teaching thanka.

Avalokiteshvara - Chaturbhuja

Tibet
1500 - 1599
Sakya and Buddhist Lineages
Ground Mineral Pigment, Gold Background on Cotton
Collection of The Metropolitan Museum of Art

Avalokiteshvara, Chaturbhuja (Tibetan: chen re zi, chag shi pa. English: the All Seeing Lord with 4 Hands). This painting is a rare composition depicting the teaching lineage tradition of the Tsembupa Martri of the Sakya School of Tibetan Buddhism. The Martri is a teaching focussed on the special Tantric methods of practice associated with Avalokiteshvara, in whatever manifestation a practitioner is comfortable with. The teaching is named after the first Tibetan teacher, Tsembupa, that received it directly from Vajrayogini in a vision.

There are two other paintings identified as belonging to the same set as this Avalokiteshvara. Formerly of the Jucker collection and now in the Rubin Museum of Art collection (RMA) is the painting of Sakya Tridzin Jambai Dorje. Again, from the former Halpert collection and now in the RMA collection is the painting of Hevajra. Each of these paintings have a gold background and similarity in brush stroke and line. Their size is identical and the inscriptions on the back of the Jambai Dorje and Hevajra paintings are identical. The back of the Avalokiteshvara is yet to be revealed.

The central figure is Avalokiteshvara with four hands. At his right is the male attendant Manidharin and at the left, the female, Shadakshari. Both are similar to the Lord in colour, ornaments and appearance. Sometimes they are referred to as the son and daughter of Avalokiteshvara.

"As the nature of all buddhas, Avalokiteshvara, in colour like stainless conch and crystal, very resplendent, smiling, peaceful and radiant. With four hands the first are folded at the heart, the lower hold a crystal mala and jewelled lotus, two beautiful feet seated in vajra posture, adorned with many attractive silks and jewels, beautified with dark blue hair in tufts [some] loose. On the crown of the head, the wisdom of all buddhas, is the Lord, source of all refuge gathered as one, in essence the Guru in the aspect of Amitabha, in the manner of the Lord of the Family, seated happily." (Ngorchen Konchog Lhundrub 1497-1557).

Avalokiteshvara is the patron bodhisattva of Tibet and is included in all Buddhist traditions. There are numerous New (Sarma) lineages and varying forms of practice that span all four tantric classifications as well as uncounted old oral traditions (Kama) and Treasure (Terma) traditions from the Nyingmapa School.

There are many different sacred Buddhist traditions that depict the various forms of Avalokiteshvara. Most of these traditions only have an initiation ritual and at best a very short daily ritual practice. Preserved in the Tibetan Buddhist tradition there are seven principal traditions that contain extensive teachings on the practice of Avalokiteshvara. The first of these is the [1] King's Tradition (gyal lug) of Tri Songtsen Gampo, [2] Bhikshuni Shri Tradition (gelongma palmo lug) of the Kashmiri nun, Gelongma Palmo [top right corner], [3] Kyergangpa Tradition (gyergang lug) of the Shangpa Kagyu School, [4] Tsembupa Tradition (tsembupa lug) of the Sakyas, [5] Dagyal Tradition (dagyal lug) of the Nyingma Treasure (terma) tradition, [6] Maitri Yogin and [7] the Karma Chagme Tradition (karma chagme lug) joining the philosophical systems of mahamudra and dzogchen with compassion.

Medicine Buddha

Tibet
1400 - 1499
Uncertain Lineage
39.37x38.74cm (15.50x15.25in)
Ground Mineral Pigment on Cotton
Collection of Shelley & Donald Rubin

Medicine Guru Buddha (Tibetan: sang gye men la. English: the Buddha - Guru of Medicine).

Padmasambhava

Tibet, 1700 - 1799, Nyingma Lineage
Ground Mineral Pigment on Cotton

54.61x43.18cm (21.50x17in)
Collection of Rubin Museum of Art

Padmasambhava (Tibetan: pe ma jung ne, the main founder of Buddhism in Tibet.

With piercing eyes, gazing on all beings, one face, adorned with a moustache and goatee, the right hand holds to the side above the knee a gold vajra. The left hand placed in the lap supports a white skullcup filled with nectar and a long-life vase. The ornate katvanga staff of a Vajrayana mendicant decorated with streamers rests against the left shoulder. Adorned with earrings and a necklace, atop the head is a lotus hat topped with a half-vajra and a single feather. Attired in various robes reflecting the disciplines of the Vinaya, Bodhisattva and Mantra Vehicles he sits on a sun and moon disc above a lotus blossom rising from the waters of the Dhanakosha lake.

Standing at the left is Avalokiteshvara with one face and four hands. Holding a wishing jewel at the heart with the first pair of hands and a crystal mala in the second right and a jewel flower in the left; both are held out to the sides. Standing at the right side is Vajrayogini with one face and two hands. The right hand holds upraised a damaru drum and the left a curved knife turned up and pressed to the hip. She stands with both feet on the ground, the right foot balanced on the heel.

At the top center is the primordial buddha Samantabhadra, naked, with the hands in the mudra of meditation and the legs in vajra posture; embraced by the consort Samantabhadri. At the lower left is Longchen Rabjampa, a monk with the pandita hat. The two hands perform the earth witness mudra while holding the stems of two utpala flowers supporting a sword and book. At the upper left is Ngari Panchen, a monk wearing the pandita hat. The two hands hold a vajra and bell along with the stems of two utpala blossoms supporting a sword and book. At the right is Jigme Lingpa with long hair and dressed as a layman. The right hand performs the mudra of generosity and the left is pressed against the seat while holding a single lotus stem with the flower cradling a sword and book. At the upper right is the King Trisong Detsen, regally attired and seated in the posture of royal ease. The two hands are crossed at the heart while holding a vajra and bell along with the stems of two utpala blossoms supporting a wisdom sword, book and Dharma Wheel.

At the bottom center is the wrathful female protector Ekajati with one face, one eye and one breast. In the right hand she holds a heart and a wild creature in the left; standing surrounded by the flames of pristine awareness. To the right is the avowed protector Dorje Lekpa (Sanskrit: Vajra Sadhu) with one face and two hands holding an upraised vajra in the right and a heart and spear in the left. Attired in long flowing garments and a wicker hat he rides a snow lion; surrounded by flames. To the left is the horrific wrathful protector Rahula with nine heads and four hands. The heads are stacked in rows of three and a tenth face decorates the stomach. The first pair of hands hold a bow and arrow, the second right holds a sword aloft and the left holds a victory banner topped with a makara head. The lower body of Rahula is that of a coiled serpent (naga); surrounded by flames.

Principal among the many teachers to bring Buddhism to Tibet in the 8th century, Guru Rinpoche has numerous forms representing outer, inner and secret aspects. Within the Kama (Oral) Tradition of the Nyingmapa School, Padmasambhava was born in Northern India as the son of a king or minister. In the Terma (Treasure) Tradition he was born on a lotus in Dhanakosha lake as an emanation of the Buddha Amitabha.

The style of painting is 'tshal thang,' a red background with fine gold lines forming the shapes of the subject deities. Only the eyes are filled with white and black pigments.

Pratisara

Tibet
1400 - 1499
Uncertain Lineage
73.60x55.80cm (28.98x21.97in)
Ground Mineral Pigment on Cotton
Collection of Museum of Fine Arts, Boston

Pancha Raksha with 56 Deities (English: the Five Protectresses). The goddess White Pratisara is in the center.

Arhat Vajriputra

Eastern Tibet
1800 - 1899
Uncertain Lineage
60.96x54.61cm (24x21.50in)
Ground Mineral Pigment on Cotton
Collection of Rubin Museum of Art

Orange Tara

Central Tibet
1700 - 1799
Gelug Lineage
48.26x29.21cm (19x11.50in)
Ground Mineral Pigment on Cotton
Collection of Rubin Museum of Art

Orange Tara, Purifying All Poverty (Tibetan: drol ma mar ser): from the set of 21 Taras of the lineage of Lord Atisha.

Yellow in colour with one face and two hands, the right hand is in the mudra (gesture) of supreme generosity holding a yellow vase extended across the knee. The left hand is held to the heart with the thumb and forefinger holding the stem of a red and blue utpala flower blossoming at the left ear. Peaceful, smiling and youthful she is adorned with flowing silks of various colours and gold and jewel ornaments, gold tiara and the like; seated with the right leg slightly extended in a relaxed manner and the left drawn up. On a moon disc and multi-coloured lotus seat encircled by a blue-red nimbus and an orange aureola she sits surrounded by a lush green landscape. A white conch shell in a blue bowl is placed in front as an auspicious offering.

At the top left is the wrathful tutelary deity, Mahachakra Vajrapani, blue, with three faces and six hands embracing the consort. At the right is a lama wearing monastic robes and a yellow pandita hat, with a red meditation belt, seated on a cushion and deer skin. At the bottom right is the wrathful protector Yama Dharmaraja, dark blue, with the head of a buffalo, holding a bone stick and lasso, riding on the back of a buffalo; surrounded by flames. At the left corner are three monks and a lay-woman seated on a mat.

Tara is a completely enlightened buddha who had previously promised to appear, after enlightenment, in the form of a female bodhisattva and goddess for the benefit of all beings. Her primary activity is to protect from the eight fears. Practiced in all Schools of Tibetan Buddhism her various forms are found in all classes of tantra - Nyingma and Sarma.

From the tantra known as the “Twenty-One Praises of Tara” spoken by the buddha Samantabhadra arises a system of practice with 21 Tara emanations - 1 for each verse. Each form of Tara has a specific colour and accomplishes a specific activity. Based on that, there are 3 well known and distinct lineages for the set of 21 Taras; Pandita Suryagupta, Lord Atisha and the lineage from the Nyingma Lama - Longchenpa. The 3 lineages do not share the same iconographic forms. In the Atisha system all the Taras appear in the same basic posture and only differ with the colour of the body. Aside from these 3 lineages there are other less well known sets of 21 Taras.

Lama Jamyang Kyentse Wangpo

Eastern Tibet
1800 - 1899
Nyingma, Sakya and Buddhist Lineages
Ground Mineral Pigment on Cotton
Collection of Private

A pair of feet and hands of a revered Lama. The Tibetans share this foot fetishism with the Chinese and Japanese. An image of the Lama is at center, five unreadable Buddhas surround him.

Naropa

Tibet

From a calendar leaf

17th-18th cent

Kagyu

Private collection Switzerland

Naropa was a Mahasidda, an Indian wise man from the Swat who established the Kagyu School. He became the Lama-guru of Milarepa starting a lineage of illustrious teachers.

Powerful in body and serious he holds a scull-cap in both hands. His eyes are fixed on Vajrayogini his personal yidam, who appears in the left upper corner. The two figures depict him on his way to enlightenment - in the lower left corner. The lake is probably the Lake of Swayambunath (Kathmandu) where Buddha Avalokiteshvara was born on a lotus.

Pehar, the Worldly Protector

Tibet
1700 - 1799
Nyingma Lineage
24.13x17.15cm (9.50x6.75in)
Ground Mineral Pigment on Cotton
Collection of Rubin Museum of Art

Pehar Gyalpo, the Worldly Protector - King Pehar.

Wrathful and fierce, Pehar, white in colour, has three faces each with three glaring eyes. The right face is red and the left blue. With six arms the three right hands hold a sword, arrow and hammer. In the left are held a stick, bow and knife. He wears a broad round red hat and rides a white (mythical) snow lion. Dressed in a long flowing orange robe augmented with various coloured layers of garments and Mongolian style felt boots he dwells within the flames of pristine awareness.

"In former times at Glorious Red Rock, Acarya Padmasambhava, inviting the profound vast protector, Had bound by an oath as the entrusted steward of all Dharma Centres; To Pehar I bow." (Nyingma liturgical verse).

Pehar is a worldly protector of non-Tibetan origin who was oath-bound by Guru Rinpoche in the 9th century and appointed primarily as a guardian of Samye Monastery in Tibet. There are many fascinating accounts of his early history found in both Nyingmapa and Gelugpa sources. According to some Tibetan Buddhist scholars Pehar is the leader of all Worldly Buddhist protectors. According to others he has already reached complete enlightenment and entered the ranks of the wisdom deities. The worship of Pehar has penetrated all of Tibetan society however the main upholders of the practice are predominantly the original Nyingmapas followed by the Gelugpas from the time of the great 5th Dalai Lama (1617-1682) when they became the spiritual and secular rulers of Tibet.

Sherab Chamma

Tibet-Bön
1800 - 1899
43.18x31.75cm (17x12.50in)
Ground Mineral Pigment on Cotton
Collection of Rubin Museum of Art

Sherab Chamma (Loving Wisdom. Tibetan: shes rab byams ma) a form of the enlightened goddess Satrig Ersang.

Youthful, white in colour, with one face and two hands she holds extended across the knee a gold swastika symbol in the right and in the left, to the heart a golden vase filled with the nectar of compassion, and the stem of a white lotus blossom opening above the left shoulder. Adorned with a gold Bodhisatva crown, earrings, necklace and bracelets, the shoulders are covered with a dark green scarf unfurling at the sides. The lower body is wrapped in an orange and red skirt tied with a blue sash. With the right leg extended and the left drawn up atop a moon disc and white lotus seat above a red and blue throne, she is surrounded by a red aureola and blue-orange nimbus of radiant light.

At the four corners are four attendant figures, emanations representing the five activities, red, green, white and blue, each with one face and four hands, holding a variety of objects. Seated on moon discs and lotus thrones they are surrounded by circles of light.

At the bottom center of the flat brown landscape, filling a large red bowl, heaps of precious jewels, red coral, ivory tusks and gold ornaments, topped with blazing jewels are offered to the goddess of Loving Wisdom.

Sherab Chamma is the name of Satrig Ersang when she is not included in the group of the Four Transcendent Ones - of which she is the first of the four. In her most wrathful form she manifests as the horrific enlightened protector Sipai Gyalmo - the principal protector of Bön. In her semi-wrathful form she manifests as the deity Yeshe Walmo with two different forms, as a protector and as a healing deity.

Sacred paintings of this type are personal yidams, used as objects of devotion. She is part of a system of protectors from the eight fears of Bön: enemies, magic, infertility, serpent spirits, wrong views, harm, death, and the negative effects caused by the planets.

Youthful, white in colour, with one face and two hands, she holds extended across the knee a golden yungdrung emblem, a left-turning swastika. The yungdrung is the principal symbol of Bön. Held at the heart is a golden vase filled with the nectar of compassion and immortality. Wearing the typical dress and ornaments of a youthful goddess, she sits atop a throne supported by eight tarkin, unique antelope-like animals of the Tibetan Plateau. The art Bön is often populated with strange and wonderful animals of the Himalayas and Central Asia. As a foundational deity of Bön, in her paramount form she is understood to be the Mother of All Enlightened Ones and is referred to by the name Satrig Ersang from Zhang Zhung, the pre-Buddhist Bön language.

Simhamukha

Tibet
1600 - 1699
Uncertain Lineage
Ground: Cotton
Collection of Navin Kumar

This strange creature is supposed to wake you from meditating on mandalas and buddhas. A female Simhamukha (Tibetan: seng dong ma chen. English: the Lion-faced One). Fearsome with gaping jaws and a lion face she glares to the side holding outstretched in the left hand a katvanga staff, a magical lance. In a dancing posture with the left leg down and the right drawn up she stands surrounded by flames of pristine awareness. Ominous clouds drift across the sky.

Ratnasambhava

Tibet
1300 - 1399
Uncertain Lineage
77.47x50.17cm (30.50x19.75in)
Ground Mineral Pigment on Cotton
Collection of Rubin Museum of Art

Ratnasambhava, Buddha (Tibetan: rin chen jung den, sang gye): a principal buddha within Vajrayana Buddhism representing the qualities of enlightenment and residing in the southern quarter of a mandala.

"In the middle of a ground of lapis lazuli is a jewelled throne - bestowing numerous attainments. On top is a thousand petalled lotus - unstained by worldly faults. Wisdom and means appear as a sun and moon. Above this, as the essence of all qualities is Ratnasambhava. With a radiant body having the colour of blazing gold, one face, two hands, the right is in supreme generosity -- fulfilling the wishes of beings. Performing meditative stabilization, the left is in the mudra of meditation. Seated with the two feet in vajra posture - method and wisdom, and having the thirty-two marks and eighty examples of excellence. For the purpose of satisfying - well adorned with jewels and beautiful silk garments. Adorning the body are a million light rays issuing and returning; having a voice possessing sixty separate tones and a mind continuum of immeasurable pristine awareness." (Bhikshu Konchog Ozer, 15th century).

The backrest of the throne is decorated with two blue horses, two makaras and a Garuda above. Alongside the throne stand two bodhisattvas and above each three more seated at both sides. Adorned with jewels and silks, they hold various objects. Along the front of the throne between the green and blue horses are 3 of the 4 female Door Guardians. In the middle for the southern direction is Vajrapashi holding a lasso (with a small name inscription below). At the left, west, is Vajrasphota holding a flower garland and at the right, east, Vajrakushi also holding a flower garland. At the bottom center is a wrathful male figure with one face and six hands, yellow in colour. At the two sides and above are three wrathful attendants, yellow, each with one face and two hands standing in a wrathful gesture with the right leg bent and the left straight.

At the bottom left side is the Direction Guardian of the south, Yama, blue in colour, riding a brown buffalo. Seated alongside is the Guardian King of the South, Virudhaka, blue in colour, holding a long sword with the right hand and the scabbard in the left, wearing a helmet and the garments of a warrior. At the bottom right is the Direction Guardian of the southwest, Rakshasa, blue, riding on the back of a zombie.

Surrounding all of that are 132 Shakyamuni Buddha figures. Golden in colour, aligned in rows, each with one face and two hands, they perform the earth touching mudra with the right and the mudra of meditation with the left, wearing red robes and seated in vajra posture surrounded by circles of light. The structure of an alternating lion and horse supported throne extends along the length of the bottom. There are several name inscriptions, most illegible, and a long inscription running along the bottom.

Occupying a central role in Vajrayana Buddhism, Ratnasambhava, is the Lord of the 4th of the Five Buddha Families of the Tantra and found throughout all 4 tantra classifications most notably in the anuttarayoga class.

Rolf’s White Tara

Nepal – Tibet

Acquired in Kathmandu 1989

Painted by A Tibetan Refugee Artist

Mineral pigment and gold lines on cotton

Original unknown

Tara, also known as Jetsun Dolma in Tibetan is the "mother of liberation", and represents the virtues of success in work and achievements. Tara is a tantric deity, the female aspect of Avalokitesvara, whose practice is used by the Vajrayana to develop inner qualities and understand outer, inner and secret teachings about compassion and emptiness. Tara is actually the generic name for a set of Buddhas or bodhisattvas of similar aspect. There are as many as 21 Taras for different purposes. The green and white Taras, peaceful and elegant, are the most commonly depicted emanations.

In 1989 we visited our thanka dealer in Kathmandu in search of a female bodhisattva. After sorting through dozens of fierce Vajrayoinis and garish green and red Taras he pulled out this beautifully painted White Tara, who now hangs above my working desk.

“Om, tare tu tare ture soha!” - her mantra.

Bodhisattvas Chenrezi and Champa

Tibet
1500 - 1599
Uncertain Lineage
58.42x48.26cm (23x19in)
Ground Mineral Pigment on Cotton
Collection of Rubin Museum of Art

Avalokiteshvara and Maitreya (Tibetan: chen re zi dang cham pa): the bodhisattvas of compassion and love.

Avalokiteshvara: white in colour and peaceful in appearance, with one face and two hands, the dark hair is piled on the crown of the head and some falls loose across the shoulders. Placed at the heart in the mudra of Dharma teaching, the right holds the stem of a white lotus flower blossoming over the shoulder. Adorned with a five-pointed crown of gold and jewels, red ribbons are fastened at the ends, and large gold earrings hang from the lobes. A choker, necklace, bracelets and anklets decorate the body. Attired with a long green scarf and a blue and pink upper garment, he wears a skirt of multiple layered colours tied with a yellow sash. Atop a moon disc, multi-coloured lotus seat rising from a blue pond below, he stands surrounded by a blue nimbus and dark green areola ringed with clouds of pink, green, yellow and blue. "Unstained by faults, a body white of colour, with the perfect Buddha as a crown, seeing beings with the eye of compassion, to Avalokiteshvara, I bow." (Sakya liturgical verse).

Maitreya: the future buddha, orange in colour, with the two hands placed in the Dharma teaching mudra at the heart. The right hand holds the stem of a lotus flower blossoming at the side supporting a gold water flask. Adorned with gold and jewels, scarves and garments of silk, he stands above a lotus seat surrounded by radiant light and colourful clouds.

"The fire of great love burns the fuel of anger, the light of pristine awareness removes the darkness of ignorance. To that Dharma Regent protecting beings and dwelling in Tushita, I pay homage." (Sakya liturgical verse).

At the top are three buddha figures resembling the buddha Amitabha, orange in colour, each seated with the hands in the mudra of meditation in the lap holding a black begging bowl. Ringed with spheres of light, they sit above lotus blossom seats and billowing clouds.

Shri Devi - Magzor Gyalmo

Tibet
1800 - 1899
Gelug Lineage
48.90x34.29cm (19.25x13.50in)
Ground Mineral Pigment, Black Background on Cotton
Collection of Rubin Museum of Art

Magzor Gyalmo (Tibetan: Magzor Gyalmo. English: Queen of the Weapon Army).

With one face and two hands, she holds aloft a vajra stick in the right hand and a skullcup in the left held to the heart. Above the head is a peacock canopy. She rides a mule; standing in the middle of an ocean of blood. At the lower right and left are two attendants, both with the heads of mythical animals.

At the top center is a wrathful deity in a sphere. Although effaced it is likely to be either Vajrabhairava or Yamari. Gelugpa teachers sit at the sides. Nine attendant deities surround the central deity.

This subject, often commonly ascribed as Shri Devi (who has four hands), is in fact the main attendant to Shri Devi and they are two different deities with different histories and personalities. 'The Queen of the Weapon Army' is the wrathful aspect of the very peaceful goddess Sarasvati (Yang Chenma).

She is always a protector and is also used for divination rituals. Most Tibetan Schools have some form of this deity. It is commonly found on Gelugpa and Sakya paintings. This practice was adopted early on as the special protector for the Dalai Lamas and the Namgyal College of the Tse Potala Palace.

The method of painting is called 'nag thang,' gold outline on a black background.

King Trisong Detsen

Tibet
1800 - 1899
Uncertain Lineage
50.80x38.10cm (20x15in)
Ground Mineral Pigment on Cotton
Collection of Rubin Museum of Art

There exist a few thankas depicting the Kings of Tibet. Trisong Detsen (8th century): the Tibetan King who firmly established Buddhism in Tibet, invited Padmasambhava from India and built the first monastery - Samye Chokor Ling. He is surrounded by benevolent dragons and mountains. A small altar at his feet displays the precious emblems of Buddhism. Below is a blue lake with heavenly wild geese and a sacred island with items used for divination.

King Aku Trotung

Tibet
1800 - 1899
Nyingma Lineage
66.68x46.99cm (26.25x18.50in)
Ground Mineral Pigment on Cotton
Collection of Shelley & Donald Rubin

Akutrotung: the uncle of King Gesar of Ling.

I discovered some thankas showing the legendary Kings of Tibet.

At the top center is the wrathful deity Hayagriva, red, with one face and two hands. At the four corners are four retinue attendants riding horses.

Dorje Legpa a Worldly Protector

Tibet
1700 - 1799
Nyingma Lineage
45.72x29.21cm (18x11.50in)
Ground Mineral Pigment on Cotton
Collection of Rubin Museum of Art

Dorje Legpa (Sanskrit: Vajra Sadhu). Oath bound worldly protector of the Nyingma School, guardian of the Revealed Treasure Tradition.

“Above a lotus and sun and a gelded goat, or a white radiant lion, ... is the excellent Dorje Legpa, maroon, one face, two hands, three eyes. The face is radiant with bared fangs, exhaling a poisonous breath, with red hair and moustache flowing upward. The right hand holds a vajra striking the heads of enemies and the left a human heart. Wearing a cloak of red silk, dwelling in a fierce and wrathful manner." (Terdag Lingpa Gyurme Dorje 1646-1714 and Minling Lochen Dharmashri 1654-1718).

Wrathful, maroon in colour, he has one face, two hands, three round eyes, a gaping mouth and yellow hair flowing upward like a flame. The first hand extended to the right holds a gold vajra and the left a human heart held up to the mouth. Resting against the shoulder is a red flag hoisted on a long staff. Adorned with gold earrings, necklaces and bracelets he wears a hat, round in shape and red, crowned with a half vajra. Attired in long flowing garments and boots, his body is well covered, seated atop a snow lion pressing down on a red corpse and sun disc above a lotus seat. The snow lion head is turned upward to show respect for the master; surrounded by thick black smoke and the flames of pristine awareness. At the edge of the flames are numerous wild animals, birds and beasts - messengers of Dorje Legpa.

At the top center is Guru Padmasambhava wearing a lotus hat and long flowing robes. In the right hand he holds a vajra and in the left a skullcup and katvanga staff. To the left side is Haygriva, red, with one face topped by a green horse head, and two hands holding a stick topped with a human skull (barely legible) in the right and a lasso in the left; standing surrounded by flames. At the right is Vajrapani, blue, holding a vajra in the right hand and performing a wrathful gesture with the left; in similar appearance.

At the middle left is Damchen Garwai Nagpo, the main attendant to Dorje Legpa, (blue in colour) with one face and two hands holding in the upraised right a vajra hammer and in the left a blacksmith's bellows made of tiger skin. He rides on the back of a brown billy goat with the horns entwined. At the middle right is a Dorje Yudronma, peaceful, red in colour, well attired in long robes holding in the right hand a mirror held aloft. In the left hand is a long-life arrow with streamers.

At the bottom center is Damchen Nordrup Dorje Legpa, red, with three eyes, holding upraised in the right hand a vajra hook and in the left a mongoose. The consort holds aloft in the left hand a long-life arrow with a white ribbon and a gold mirror with a red ribbon in the right. Both are richly attired in various peaceful garments and jewel ornaments. At the left are five wrathful figures each with one face and two hands, riding on mounts of bird, goat, donkey, horse and lion. At the right are six figures riding similar wild mounts with one red female in a standing posture at the lower right.

"At the blazing iron fortress of Uyug Shang, powerful son from the union with a Mu daemon, great in magical emanations, performing attentively the commands of bhagavan Vajrapani; homage to the herald of liberation, Dorje Legpa." (Nyingma liturgical verse).

Indigenous to Tibet, the daemon Dorje Legpa was subjugated in the 8th century by Guru Padmasambhava and oath bound as a Dharma protector. His primary function is to safeguard the Revealed Treasure texts (Terma) of the Nyingma Tradition of Tibetan Buddhism.

Palden Lhamo Dudsolma

Tibet
1400 - 1499
Sakya Lineage
10.16x8.26cm (4x3.25in)
Ground: Cotton
Collection of Rubin Museum of Art

Shri Devi (English: Glorious Goddess. Tibetan: pal den lha mo). The principal consort for the enlightened protector Mahakala and the main female protector of the Sakya School.

"...the Glorious Goddess, Mistress of the Desire Realm, riding a donkey with a white patch; with a body blue-black in colour, one face and four hands; the first right holds a sword, second a skullcup filled with blood; the first left holds a spear, the second a trident; with a crown of five dry human skulls and a necklace of fifty wet and six bone ornaments; an elephant hide as an upper garment and a rakshasa hide as a skirt, a lower garment of woven hair; the Lord of Nagas tied as a girdle; possessing three eyes, a stiff human corpse in the mouth, bared fangs. The right ear is adorned with a poisonous snake and the left a lion. On the body arranged in bunches are drops of blood, clots of mold, and ashes of the dead; very emaciated..." (Ngorchen Konchog Lhundrup, 1497-1557).

Ekajati

Tibet
1700 - 1799
Uncertain Lineage
77.47x55.25cm (30.50x21.75in)
Ground Mineral Pigment, Fine Gold Line on Cotton
Collection of Rubin Museum of Art
Ekajati “Single Braid”

The seated figure at the upper right is Manlung Guru of the 13th century. He was a contemporary of Butön Tamche Khyenpa and associated with the Kalachakra Tantra.

"Arising from the mandala of suffocating black wind at a kalpa's end,
Mistress of a host of activities and pristine awareness,
Leader of the Mamos, Great Queen of the World;
Homage to the Lord of Mantra, Ekajati!" (Nyingma liturgical verse).

Single Braid is a Buddhist deity of Indian origins often found in the company of Tara as an attendant figure. She is named for her one braid of hair atop the head, but this characteristic is often lost when she appears in a horrific form. In some Buddhist traditions she is considered the mother of the Glorious Goddess (Shri Devi, Mahakali) and the Great Black One (Mahakala). The Ancient Tradition of Tibet adopted Single Braid as a principal protector and modified the appearance to also mean a single eye and a single breast. Later in the 18th century, the Heart Essence of the Great Expanse tradition of practice further reduced her to one leg, thus making for a truly interesting appearance.

Black background paintings such as this are often used for the most wrathful and horrific images believing that it enhances those characteristics. It was thought that the black ground was first created using the funeral ashes of great teachers. The three seated figures in the upper portion of the painting all pre-date the 13th century.

Kurukulla

Central Tibet
1700 - 1799
Sakya and Ngor Lineages
29.21x21.59cm (11.50x8.50in)
Ground Mineral Pigment, Fine Gold Line, Red Background on Cotton
Collection of Rubin Museum of Art

Kurukulla (Tibetan: rig che ma. English: The One of the Action Family): Goddess of Power.

Powerful, red in colour with one face, hair flowing upward, three eyes and four hands, slightly fierce in expression, she holds a bow and arrow in the first pair of hands and a hook and lasso in the lower pair. All the hand objects are constructed of red utpala flowers and used as implements for the subjugation and accomplishment of all goals. Adorned with jewel ornaments, a tiara, earrings, necklaces, bracelets and silk scarves, she wears a lower skirt of tiger skin. Standing atop a corpse, sun disc and lotus blossom she dances amidst the circular flames of the fire of pristine awareness.

At the top center is the Buddha of the Western direction Amitabha. At the top left is mahasiddha Virupa performing the gesture (mudra) of Dharma Teaching with the two hands at the heart; seated in a relaxed posture. At the top right is a teacher of the Sakya tradition of Tibetan Buddhism with the hands folded in meditation and wearing a scholar's (pandita) hat with the lappets folded across the crown. At the bottom left is Green Tara, with one face and two hands, seated in a relaxed posture. At the right is another Sakya teacher holding a vase in the extended right hand and the stem of a lotus in the left held to the heart with the blossom supporting an ignorance cleaving sword and the Prajnaparamita wisdom book. At the bottom center is the wrathful protector 'Queen of the Weapon Army' (mag zor gyal mo), with one face and two hands holding a stick and skullcup; riding a mule.

In the Sakya Tradition there are numerous forms of Kurukulle from the four different tantra classifications and all of those can be arranged in five levels of profundity. This particular subject belongs to the fourth or fifth of the higher classifications - those associated with the Hevajra and Vajrapanjara Tantras.

Guru Lineage: the great Vajradhara, the holy Kurukulla, Raja Sahaja Lalita, Vajrasana the Greater, the Younger Amoghavajra, Bari Lotsawa Rinchen Drag, Sachen Kunga Nyingpo (1092-1158), etc.

This type of painting is called tsal tang - gold outline on a red background, generally used for power and long-life deities, and bodhisattva figures. A similar type of painting is a ser tang where the background is entirely of gold with the drawing often done in a red outline.

Arhat Rahula

Tibet
1700 - 1799
Buddhist Lineage
95.25x59.69cm (37.50x23.50in)
Ground Mineral Pigment on Cotton
Khyenri Painting School

Collection of Shelley & Donald Rubin

The lion is all subdued. He happily chews on a piece of yellow cloth, watched by a layman from behind a tree. Even the attendant, who should know the powers of his Master, takes refuge behind the saint’s coat.

The orange sunset and the expressionist colors in the mountains indicate to me that this Arhat thanka is by the same Khyenri painter as some of the others. The text does not say that, I added the line.

Dharmata, Attendant of the Arhats

Central Tibet
1600 - 1699
Uncertain Lineage
96.52x60.96cm (38x24in)
Ground Mineral Pigment on Cotton
Khyenri Painting School
Collection of Shelley & Donald Rubin

Dharmatala, the upasaka (Tibetan: gen nyen dhar ma ta), the layman attendant to the 16 Great Arhats.

An old man, a little dense, with black hair tufted on the top of the head, long dark eyebrows and a growth of facial hair, he plods along in his job. The right hand holds a flywhisk with a red handle and a tuft of yak tail hair attached at the end. The left hand holds a dark blue water flask. Adorned with gold earrings, he wears a long cloak brown in colour with a floral pattern, blue and white pants and black sandals. Across the back he carries a red travelling case filled with religious books, bowls and provisions - topped with a circular yellow canopy fringed with red and blue. Stooped over from the load, he walks with the companionship of an orange striped tiger at the side. Emanating as a fierce protector of the 16 Arhats, the tiger arises from the right knee of Dhamatala.

In the sky above, drifting on a bank of variously coloured cloud is the buddha Amitabha, red, with the two hands placed in the mudra of meditation, seated atop a dark blue lotus blossom encircled by rays of light. A large pine tree, rocky blue peaks and green-red clouds fill the background. The foreground is a green landscape with a stream meandering through a meadow adorned with attractive birds.

"To the noble upasaka Dharmata, with the hair in a topknot and a load of books, thinking only of Amitabha in the sky; homage to the One holding a flywhisk and vase." (Sakya liturgical verse).

Dharmatala belongs to a thematic set of paintings known as 'Shakyamuni Buddha and the 16 Great Arhats.' The full group comprises 25 figures: the buddha Shakyamuni, together with the two foremost disciples - Shariputra and Maudgalyayana, the 16 Arhats, the attendant Dharmata, the patron Hvashang and the Four Guardians of the Directions; Vaishravana, Virupaksha, Dritarashtra and Virudhaka. As a late addition, Dharmatala was attached to the group of Arhats during the time of the Chinese Tang Emperors (9th - 10th century).

Arhat Ajita

Eastern Tibet
1700 - 1799
Buddhist Lineage
91.44x58.42cm (36x23in)
Ground Mineral Pigment on Cotton
Collection of Rubin Museum of Art

Arhat: wearing the robes of a fully ordained monk and a white cloth over the head, he sits in meditation posture with the hands folded in the lap.

At the right side is the mahasiddha Vinapa, in the typical dress of an Indian, holding a vina - stringed instrument, in the lap. At the right is a dark-skinned mahasiddha wearing bone ornaments and a tiger skin skirt. At the top left is the buddha Shuradatta and on the right Brahma. Both Buddhas are from the set of 35 confessional Buddhas.

Arhat Bakula and Rahula

Central Tibet
1600 - 1699
Kadam Lineage
60.96x39.37cm (24x15.50in)
Ground Mineral Pigment, Fine Gold Line on Cotton
Collection of Rubin Museum of Art

Bakula and Rahula, the Elders (Tibetan: ne ten, ba ku la tang dra chen dzin. Sanskrit: Sthavira Bakula and Rahula): the 9th and 10th arhats from the set of 16 great arhats.

At the middle right is Arhat Bakula, gentle in appearance with a smiling face, fair complexion and grey receding hair. Wearing loose fitting ornate red robes, he holds in the two hands a brown mongoose - expelling jewels from the mouth. In front an ornately clad attendant holds aloft a golden bowl to collect the precious jewels of various colour. At the right are two monk attendants. The first holds a peacock fan and strokes the head of a seated tiger and the second holds a full bowl of precious jewels. Seated on an orange mat, Bakula is framed with a backrest of dark blue brocade and a pink areola.

"On the Northern [continent] of Kuru is the noble elder Bakula, surrounded by 900 arhats; homage to the One holding a mongoose with the two hands." (Sakya liturgical text).

At the lower left is arhat Rahula, the son of Shakyamuni buddha. With the head slightly tilted and gazing forward, his dark close cropped hair is crowned with a small topknot. The two hands are placed in front holding respectfully, with a white scarf, a tiara of gold and jewels - a gift from the gods of the Heaven of the Thirty-three. Richly attired in garments of red and green, he wears brocade shoes, seated in a relaxed manner against a decorative blue and red backrest, with a green aureola. Behind at the left, an attendant holds upraised a parasol. In front a regal figure stands with the hands folded. At the right side a monk in red and orange robes kneels beside a bowl of precious jewels.

"On the Island of Priyangku is the noble elder Rahula, surrounded by 1,100 arhats; homage to the One holding a jewelled tiara." (Sakya liturgical text).

At the top center is a buddha, golden in colour, the hands held upraised with the palms facing out. Surrounded by six bodhisattvas of various colour he is seated before a celestial palace in a pleasure garden encircled by a walled enclosure. At the left is Dromton Gyalwai Jungne (1005-1064) the principal disciple of Lord Atisha - founder of the Kadampa School. Crowned with long dark hair, the hands are folded in prayer holding a white lotus blossom; wearing the garb of a layman. At the right is a lay lama of the Kadampa tradition, advanced in age, wearing the garments of a layman. He holds a vajra in the right hand and a bell turned up at the hip in the left. The background is filled with green hills, waterfalls and lush green foliage against a dark blue sky. A solitary hermit monk meditates in a mountain cave.

The Sixteen Great Arhats are generally painted as a set. The full group would include the buddha Shakyamuni, the 16 arhats, the attendant Dharmatala, the patron Hvashang and the Four Guardians of the Directions: Vaishravana, Virupaksha, Dritarashtra and Virudhaka. (The names of the figures are inscribed in gold lettering beneath each).

Dralha, a Worldly Protector

Tibet
1700 - 1799
Nyingma Lineage
41.91x30.48cm (16.50x12in)
Ground Mineral Pigment on Cotton
Collection of Rubin Museum of Art

Dralha: with one face and two hands he holds a riding crop in the upraised right and a bowl of jewels with the left. Dressed in the garb of a warrior with a spear, he rides atop a white horse.

Rolf’s Heruka Yidam

Painted to my order in Nepal in 1991

by a Tibetan Refugee Lama

Nyingma and Kagyu tradition

Date and location of the original unknown

17th cent(?)

Mineral pigments on cotton

In this tantric thanka the central Heruka is benevolent, holds a Vajra in one and a benign Vajravarahi consort in his other hand, one reason why I chose to have this thanka repainted in Kathmandu (from a leaf in a calender). A Tibetan craftsman in Los Angeles surrounded it with a cloth frame worthy of a gompa! A magnificently detailed copy of the original - which is probably in a private collection in Switzerland.

The central figure is surrounded by four representations of Demchog, Heruka’s fierce emantion. Each is embracing a fierce form of Vajravarahi who holds a blood-filled scull cap and a catvanga. Four dancing dakinis complete this canonical entourage. Above in the center the always blue Adhibuddha (Samantabhadra the “All-Good”) holds his white, stark naked consort Samantabhadri in an embrace. In the right upper corner appears Mount Kailas and Lake Mansarovar.

A yidam is a personal meditation object.

Orange Tara

Central Tibet
1700 - 1799
Gelug Lineage
48.26x29.21cm (19x11.50in)
Ground Mineral Pigment on Cotton
Collection of Rubin Museum of Art

Orange Tara, Purifying All Poverty (Tibetan: drol ma mar ser): number 11 from the set of 21 Taras of the lineage of Lord Atisha.

Marichi

masam
Central Tibet
1600 - 1699
Karma (Kagyu) Lineage
57.79x43.82cm (22.75x17.25in)
Ground Mineral Pigment on Silk
Collection of Navin Kumar

Marichi, Kalpoktam (Tibetan: o zer chen ma, English: the One Having Light Rays), Goddess of the Dawn.

Peaceful in appearance, yellow in colour, with three faces and eight hands. Seated atop a large mother sow, the left leg extended rests on the back of several sleeping piglets. The red orb of the morning sun encircles behind crowned with the upper spire of a stupa.

"She who holds the night, and by merely remembering quickly protects from all fears and bestows the stainless great bliss. To the goddess Marichi I bow." (Sakya liturgical verse).

Mahakala, Shadbhuja-Sita

Central Tibet
1700 - 1799
Gelug Lineage
40.64x28.58cm (16x11.25in)
Ground Mineral Pigment on Cotton
Collection of Rubin Museum of Art

Shadbhuja Sita Mahakala, (Tibetan: gon po kar po chag drug pa. English: the White Lord with Six Hands). Emanation of Avalokiteshvara and principal wealth deity of the Shangpa Kagyu School of Tibetan Buddhism.

White in colour with on face, he has three glaring eyes, a gaping mouth with bared fangs, orange hair flaming upward and six hands. In the three right hands are a curved knife, wish-fulfilling jewel and a damaru (drum). In the left hands are a skullcup containing a vase filled with various jewels, a trident and a vajra hook. Adorned with a crown of jewels and gold, precious ornaments and green silk he stands with the two legs straight atop two elephant-headed figures, spewing jewels, above a sun disc and lotus seat surrounded by the red and gold flames of pristine awareness. Encircled by the 'Five Power-Gathering Dakinis' of various colours, they hold in the right hands a hook and a wishing-jewel in the left.

Seated directly above is the Buddha Vajradhara, blue in colour, with one face and two hands. In this form he holds to the heart a jewel in the right and a mongoose in the lap with the left. Seated at the top right the mahasiddha Shavaripa, the first human lineage holder for the system of Shadbhuja Mahakala. Below is a lama wearing robes a red pandita hat. On the left side is another pandita holding a book and seated below is a Gelugpa Lama - possibly the second Dalai Lama, Gyalwa Gendun Gyatso, who popularized the practices of the Shangpa School within the later Gelugpa School.

At the bottom left is the main form of the wrathful protector, Shadbhuja Mahakala, black, with one face and six hands. Wrathful offerings are arranged in front. At the right is the protector goddess Magzor Gyalmo, black, with one face and two hands, riding a mule. She is the wrathful emanation of the goddess Sarasvati and the special protector to the Dalai Lamas.

The painting is rich with detail and colour executed on a black background almost lost in the opulence, splendour and array of colours.

White Mahakala, a wealth deity of the Kriya class of Tantra, satisfies the economic needs of Tantric Buddhists. This is a Gelugpa example of a deity that has become popular within all schools of Tibetan Buddhism. It should be noted however that the Shangpa Kagyu School, founded by Khedrup Khyungpo Naljor (11th century), is unrelated to the more famous School of the same name founded by Marpa and his principal student Milarepa.

An example of opulent Tibetan Baroque!

Indian Mahasiddha-Saraha

Eastern Tibet
1800 - 1899
Karma (Kagyu) Lineage
30.48x45.72cm (12x18in)
Ground Mineral Pigment on Cotton
Karma Gardri Painting School
Collection of Rubin Museum of Art

Green Tara

Tibet
1700 - 1799
Uncertain Lineage
Ground Mineral Pigment on Cotton
Collection of Rubin Museum of Art

Green Tara (Tibetan: drol ma jang ku): the bodhisattva - saviouress from all suffering, symbol of enlightenment in a female form.

With one face and two hands, emerald green in colour, she performs the mudra (gesture) of generosity with the right hand extended over the knee holding the stem of a lotus flower blossoming by the right ear. With the left hand held to the heart in a mudra of blessing she holds the stem of a lotus - blossoming to the left side. Adorned with gold and jewels in the form of a tiara with five gems, earrings, necklaces, bracelets and the like, she wears various silks in a variety of colours, orange, yellow, violet and red. With the right leg extended, resting on a small moon and lotus cushion, and the left drawn up, she sits in a relaxed posture on a moon disc and white lotus seat; surrounded by an orange nimbus and red areola. In front, on an earthen landscape, from a lotus pond, stands a heap of coloured wishing jewels, the uppermost blazing with orange flame. Auspicious white clouds fill the sky above.

The popular practice of Tara is found in all the various traditions of Tibetan Buddhism and the multitudes of forms, white, yellow, red, and the different sets of 21, can be found in all classifications of Tantra - Nyingma and Sarma.

Shri Devi - Magzor Gyalmo

Mongolia
1700 - 1799
Gelug Lineage
63.50x50.17cm (25x19.75in)
Ground: Textile Image
(Embroidery, Applique, Brocade)
Collection of Rubin Museum of Art

Magzor Gyalmo (English: Queen of the Weapon Army): the wrathful emanation of the goddess Sarasvati.

Fierce in appearance, with one face and two hands, she holds aloft a stick in the right hand and a skullcup to the heart in the left. She rides a donkey; standing in the middle of an ocean of blood. At the bottom are two attendants. To the left is the 'Makara Faced One,' (a mythical sea creature) blue in colour with one face and two hands; holding a lasso and always placed to the front of the central figure holding the reins of the donkey. To the right is the 'Lion Faced One,' dark red, holding a curved knife and skullcup. This attendant follows behind the mount. Both are adorned with human skins and bone ornaments.

This subject, often commonly ascribed as Shri Devi (who has four hands), is the main attendant to Shri Devi and they are two different deities with different histories and personalities.

She is always a protector and is also used for divination rituals. Most Tibetan Schools have some form of this deity. It is commonly found on Sakya and Gelugpa paintings. This practice was adopted early on as the special protector for the Dalai Lamas and the Namgyal College of the Tse Potala Palace.

The Glorious Goddess, undeniably related to the Hindu mother goddess Kali, the wife of Shiva in a wrathful form, is understood as a class of female protector deities that includes many forms and many different variations on the early origin myth. Some claim that there are twenty-one in number attested to in popular prayer; others say that some of these forms are indigenous to the Himalayas and Tibet. Relying on ancient Tibetan texts, possibly of Indian origin, the Glorious Goddess has a list of one hundred names. Portrayed with four arms, she is considered the principal and original form of the goddess.

The “Queen who Repels Armies,” appearing with just two arms, is another form within this class. Based on her specific origin myth she is said to be the fearsome manifestation of the Hindu goddess Sarasvati, popular in Hinduism and Buddhism.

Simhamukha

Tibet
1700 - 1799
Nyingma Lineage
48.26x33.02cm (19x13in)
Ground Mineral Pigment on Cotton
Collection of Erie Art Museum

Simhamukha (Tibetan: seng dong ma chen. English: the Lion-faced One). Fearsome with gaping jaws and a lion face she glares to the side holding outstretched in the right hand a curved knife. The left holds a skullcup raised to the mouth. A katvanga staff is supported in the bend of the elbow. In a dancing posture with the left leg down and the right drawn up she stands surrounded by flames of pristine awareness. At the four corners are four retinue figures similar in appearance. At the top center is the buddha Shakyamuni. At the bottom center is a wealth deity embracing a consort, riding a snow lion.

Sipai Gyalmo - Riding a Red Mule (dreu marmo)

China
1800 - 1899
Ground: Textile Image
(Silk Embroidery)
Bön Image

Collection of Rubin Museum of Art

Sipai Gyalmo (English: Queen of the World).

In the Bön tradition the Queen of the World is the most wrathful manifestation of the peaceful deity Loving Mother of Wisdom (T. Sherab Chamma). Fierce in appearance, black in color, she has three faces and six arms holding weapons and implements of power and control. The three right hands hold a victory banner, flaming sword and a peg. The left hands hold a trident, svastika wand, and a skullcup filled with blood. Each of these symbolically represents cutting the knots of illusion and rooting out the three poisons of greed, anger and delusion. Riding on a red mule, she sits atop a flayed human skin symbolizing impermanence while the brightly burning flames of wisdom fire surround her.

The Queen of the World is both a meditational deity and a protector. She is one of the most frequently propitiated figures in Bön, and extends her protection to both religious practitioners and common people. Though horrific and wrathful in form she embodies the qualities of wisdom and compassion. Embroidered works of art such as these were commonly commissioned by Tibetans although made in China.

Arhat Pantaka

Tibet
1600 - 1699
Buddhist Lineage
95.25x59.69cm (37.50x23.50in)
Ground Mineral Pigment on Cotton
Collection of Shelley & Donald Rubin

I like the Arhat thankas, the subject matter allows the painter freedoms which he doesn’t have with more orthodox subjects. Look at the student peering throught door at the crazy crackpot!

Arhat Vajriputra

Tibet
1700 - 1799
Buddhist Lineage
92.71x57.79cm (36.50x22.75in)
Ground Mineral Pigment on Cotton
Collection of Shelley & Donald Rubin

Compared to the other lean and mad Arhats this one has a rich, royal sponsor. He grew fat and blasé! Even his attendant looks well satiated.

Arhat Angaja

Eastern Tibet
1700 - 1799
Karma (Kagyu) Lineage
81.92x53.34cm (32.25x21in)
Ground Mineral Pigment on Cotton

Angaja the Elder (Tibetan: ne ten, yan lag chung, Sanskrit: Sthavira Angaja): the 1st arhat from the set of 16 great arhats.

With an elderly appearance, advanced in age, his hair is white with long eyebrows hanging to the sides. In the right hand a fly whisk with a long handle is extended above the right shoulder. The left holds out to the side a golden incense bowl. In the stream of grey steam twisting upward a heavenly palace is revealed amongst the perfumed clouds. Wearing green patchwork strips and red monastic robes, an areola, ethereal, maroon in colour, surrounds the head. Seated atop an ornate throne - decorated with brocades, wishing jewels and a backrest, amidst wafting clouds, he sits before the snow peaked mount Kailash with lake Manasarowar on the right. At the side of the throne a monk points upward at the celestial apparition.

At the top right is the buddha of long-life, Amitayus, red, holding a nectar filled vase in the lap with both hands; adorned with jewels and silks. At the left seated on a cushion is Marpa Chokyi Lodro (1012-1097), founder of the Kagyu School. In the guise of a layman with a moustache and goatee, he rests the two hands across the knees in the earth witness mudra (gesture). Before the throne, at the lower right is a lay attendant accompanied by a white elephant, with the trunk and right leg respectfully raised, carrying a load of precious jewels. At the bottom right is Lord Gampopa (1079-1153) wearing monastic robes and a red cap. The right hand is in the mudra of earth witness and the left supports a begging bowl in the lap. A herd of deer rest at the left side.

"On the great snow mountain of Kailash is the noble elder Angaja, surrounded by 1,300 arhats; homage to the One holding an incense bowl and a fly whisk." (Sakya liturgical verse).

Vajrayogini

Eastern Tibet
1700 - 1799
Karma (Kagyu) Lineage
33.02x22.86cm (13x9in)
Ground Mineral Pigment on Cotton
Palpung / Situ Painting School
Collection of Rubin Museum of Art

Tibetan: dor je nal jor ma, na ro kha cho.

Red in colour with one face, three eyes and two hands the left holds aloft a white skullcup from which she drinks and on the shoulder rests a very detailed vajra tipped katvanga staff. The right hand is extended downward holding a curved knife with a gold vajra handle. Adorned with a tiara of skulls, various bone ornaments, girdle, bracelets and a necklace of freshly severed heads - each with a different expression she stands atop the bodies of pink Kalaratri and black Bhairava. Above an ornate sun disc and pink lotus seat she stands completely surrounded by the multi-coloured flames of pristine awareness.

At the top center is the primordial buddha Vajradhara, blue in colour, with the two hands crossed at the heart holding a vajra and bell, in a seated posture. At the left is the Indian mahasiddha Tilopa, holding a skullcup in the right hand and a fish upraised in the left. At the right side is a seated Tibetan yogi wearing a white cotton upper robe and a yellow meditation belt. Holding a skullcup in the left hand he is seated on a deer skin.

At the bottom left is the wrathful deity Humkara, blue, with one face and two hands holding a curved knife and skullcup, standing atop a corpse. Very fierce, he is adorned with all the wrathful vestments, an elephant skin upper garment and a tiger skin below. On the right is Yu Dronma (Turquoise Lamp), a female deity of Tibetan origin and one of the 'Tanma Chunyi,' with one face, three eyes and two hands holding what appears to be a large drum (usually a mirror) in the right hand and a stick in the left. Richly attired in variously coloured garments she sits on a moon disc above a lotus. The names of these last two figures are printed with fine gold lettering below each lotus seat.

Vajrayogini belongs to the 'wisdom class' of Anuttarayoga Tantra and arises specifically from the Chakrasamvara cycle of Tantras. When Vajrayogini is portrayed in this appearance with the left hand raised and the two feet firmly planted she is commonly referred to as the Naro Khachodma however this does not always mean she is from the special Naropa lineage of the Sakyapa tradition. This painting appears to be Kagyu in origin based on the grouping of figures and Eastern Tibetan style of painting.

Sacred paintings of this type are personal and used as objects of devotion, the centerpiece of a shrine. In this case the painting was commissioned by a well-known practitioner of yoga, the yogini Dechen Wangmo, who lived in the late 18th /19th century in Central Tibet. The Red Yogini was her personal choice as a model for meditation practice. As part of the commitments within this system of Tantric religious practice in general, a follower must have a representation, a model, be it a painting or sculpture, of the deity that one is personally committed to.

This painting in particular is special because Dechen Wangmo had the religious object consecrated by her teacher, Kunzig Chonang (1768-1822), the 8th Great Lama of the Drugpa Tradition, a famous religious leader.

Teacher Lama - Sangye Yarjon

Central Tibet
1200 - 1299
Taklung (Kagyu) Lineage
28.58x20.96cm (11.25x8.25in)
Ground Mineral Pigment on Cotton
Collection of John and Berthe Ford

Chakrasamvara Sahaja Heruka

Tibet
1300 - 1399
Taklung (Kagyu) Lineage
60.33x60.66cm (23.75x23.88in)
Ground Mineral Pigment on Cotton
Collection of Rubin Museum of Art

Chakrasamvara, Sahaja Heruka, with the footprints of Drigung Tangpa Chenpo on the right and left sides.

Tibetan: Khor lo dem chog

In the center of the composition is Chakrasamvara Sahaja Heruka, with one face and two hands, embracing the consort Vajravarahi, red in colour.

Descending vertically in the two outer registers are the Eight Great Siddhas. Beginning on the left are King Indrabhuti, with Virupa on one side and Lakshminkara on the other. Below that is Dombi Heruka riding atop a tiger with his consort. Below that is Saraha in a standing posture and holding a bow across the shoulders, accompanied by two consorts. Below that is Kukkuripa, holding a dog. Descending on the right are Nagarjuna seated on the right side of Shakyamuni Buddha with Atisha seated on the other side of the Buddha. All three are dressed in the robes of a monk. Below Nagarjuna is Luipa with both hands raised up and dressed in the attire of a mahasiddha. Below that is Padmavajra embracing a consort. Below that is Vajra Ghantapa, holding a vajra scepter and a bell.

In the top register, starting at the left corner, are Vajrasattva, Akshobhya Buddha, Vajradhara, Tilopa, Naropa, Pagmodrupa, Gampopa, Milarepa, Marpa, Shakyamuni Buddha, and Medicine Buddha.

In the second register, starting at the left, are Samaya Vajra, Gauri, Buddha Lochana, Mamaki and Samantabhadri. In the center of the row is Rinchen Drigungpa, the founder of the Drigung Kagyu School of Tibetan Buddhism. Following in the row are Mohavajra, Dveshavajra, Matsaryavajra, Ragavajra, and Irshyavajra. Each of the ten female deities have three faces and six hands, and hold various attributes.

In the bottom register starting at the left are Chaturbhuja Mahakala, seated, with four hands, Yellow Jambhala, Amrita Kundali, Hayagriva holding a stick, Vajrapani holding a vajra scepter, Achala holding a sword, Ganapati with an elephant head and four hands, and Shri Devi with one face and four hands, riding a donkey.

Teacher Lama - Taglung Tangpa Chenpo

Tibet
1300 - 1399
Taklung (Kagyu) Lineage
Ground Mineral Pigment on Cotton
Collection of Shelley & Donald Rubin

Taglung Tangpa Chenpo (1142-1210): founder of Taglung Monastery (1180), central Tibet - north of Lhasa, the head monastery for the Taglungpa sub-lineage of the Kagyu School.

The central figure is surrounded by buddhas, lineage teachers and deities. Along the bottom from left to right – ahrd to see in this old thanka - are blue-black Humkara, red Vajravarahi, four-armed Chaturbhuja Mahakala, white Aparajita, Four-armed sow-faced red Vajravarahi and red Kurukulle.

Mandala - Buddha Shakyamuni and the 16 Arhats

Tibet
1700 - 1799
Uncertain Lineage
39.37x38.10cm (15.50x15in)
Ground Mineral Pigment on Cotton
Collection of Rubin Museum of Art

Shakyamuni Buddha and the 16 Arhats Mandala (Tibetan: sang gye sha kya tu pa dang ne ten chu drug pa'i kyil khor).

The forms of the Buddha and Arhats are represented by pink lotus flowers; the Buddha in the middle encircled by the 16 Arhats. At the four sides are four doors, 'T' shaped structures, each with a lotus seat for the Four Guardian Kings of the Directions. At the lower front is a single lotus seat for the attendant to the Arhats - Dharmatala.

The meditation practice of Shakyamuni with the 16 Arhats was popularized by Jowo Atisha and later by the Kashmiri pandit Shakyashri Bhadra

The End