唐卡图集(续集)

肃火斤

附件401.

Central Tibet

1700 - 1799

Ngor (Sakya) Lineage

41.59x33.02cm (16.38x13in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

Pancha Raksha Fifty-six Deity Mandala. At the center is Maha Pratisara, followed by Maha Sahasrapramardini, Mahamayuri, Shitavati and Mantramanudharani. [See Pancha Raksha Main Page].

The Five Protectors are a group of five deities that are the personifications of five early Buddhist texts (sutra), the oldest dated to the 4th century A.D. The personifications are also of the special verbal utterances called mantras. These five deities each have specific functions and are directed towards accomplishing worldly welfare and happiness, preventing and surviving natural disasters, curing snakebite, overcoming fear and averting pestilence and epidemics.

There are many forms for each these five deities, with multiple heads and arms, and many different traditions of practice. They are popular throughout the Himalayas and Central Asia and can also be found in China and Japan.

The top registers contain the lineage of teachers beginning with the bodhisattva Vajrapani at the top left. In the bottom right corner are the two principal protectors of the Sakya Tradition, Panjarnata Mahakala and Shri Devi. At the bottom center are two wealth deities, yellow Vasudhara and a red Ganapati. At the far left sits a donor figure in front of a table of offerings.

English References:

Religions of India In Practice, edited by Donald S. Lopez, Jr. Princeton University Press, 1995. The Power of Mantra: A Story of the Five Protectors. Todd T Lewis, pp.227-234.

Popular Buddhist Texts from Nepal, Narratives and Rituals of Newar Buddhism. Todd T. Lewis. Translations in Collaboration with Subarna Man Tuladhar and Labh Ratna Tuladhar. Foreward by Gregory Schopen. State University of New York Press, 2000. Chapter 6. The Refuge of Recitation: The Pancaraksa, pp.119-164.

肃火斤

附件402.

Mongolia

1800 - 1899

Nyingma Lineage

96.52x71.76cm (38x28.25in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

The Five Pehar Gyalpos (Kings) of the Terma (Treasure) Lineage.

肃火斤

附件403.

Eastern Tibet

1800 - 1899

Ngor (Sakya) Lineage

49.53x37.47cm (19.50x14.75in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

Vajrayogini, the 'Khechari of Naropa' (Tibetan: dor je nal jor ma, na ro kha cho ma). Belonging to the Chakrasamvara collection of Tantras and one of the five principal tantric practices of the Sakya School.

肃火斤

附件404.

Akshobhya, Vajra (Tibetan: dor je mi drug pa kyi khor): the Nine Deity Vajra Akshobhya Mandala in sambhogakaya form according to the tradition of Lord Atisha (982-1054).

In the center of the mandala is Akshobhya, peaceful in appearance, light blue in colour, the right hand in the mudra of earth touching extends across the knee. The left hand placed in the lap in the mudra of meditation supports a gold upright vajra. Wearing sambhogakaya vestments (the enjoyment body of a buddha) he is adorned with a gold and jewel crown, earrings, necklaces and the like. Attired in yellow and orange silks, he is seated in vajra posture above an elephant supported throne surrounded by a blue nimbus and red areola.

The outer ring is comprised of the Goddesses of the 8 Auspicious Emblems on an 8 petalled lotus. Each with one face and two hands, in various colours, adorned with jewels and silks, they sit in relaxed postures. Starting from the top and circling to the right they hold a parasol, vase, conch shell, fish, endless knot, wheel, lotus and victory banner.

The floor of the palace mandala is red at the top - west, white below - east, yellow at the left - south, and green to the right - north. The edge of the square enclosure marks the extant of the walls and the 'T' shaped structures are the four doors topped with four lintels, etc. Above those can be seen the tips of the large double vajra on which the palace sits. Outside of that is the ring of lotus petals followed by the five-coloured ring of flames of pristine awareness.

Arranged in rows at the top and bottom are the lineage teachers of the Nine Deity Akshobhya Mandala. Starting at the top left are Shakyamuni buddha and the bodhisattva Manjushri followed by 19 Indian and Tibetan panditas and lamas. All of the 19 figures wear monastic robes and the teachers along the top wear orange pandita hats. At the bottom right corner is the bodhisattva of long-life, White Tara, with the right hand in the mudra of generosity and the left holding the stem of a lotus to the heart. This form of Akshobhya belongs to the Kriya tantra classification. The background of the painting is a swirl of dark floral design common to Nepali influenced paintings.

肃火斤

附件405.

The God of Life (Tibetan: srog lha): from the set of the Five Personal Gods of the Individual (Tib.: go wa'i lha nga).

肃火斤

附件406.

Eastern Tibet

1700 - 1799

Karma (Kagyu) Lineage

56.52x34.93cm (22.25x13.75in)

Ground Mineral Pigment on Cotton

Collection of Shelley & Donald Rubin

Dusum Khyenpa, the 1st Karmapa (1110-1193) along with the early Tibetan lineage gurus of the Kagyu tradition.

Having an older appearance with gray hair and unshaven he performs the mudra of Dharma teaching with both hands held at the heart in a similitude of a Dharma wheel. Wearing a black vajra crown received as a gift from the dakinis in acknowledgment of his realization he is attired in the orange and yellow robes of a fully ordained monk furthered covered with a yellow brocade meditation cape. On a low seat befitting a monk, with a backrest and cloth brocade cover, he sits in vajra posture before a three-legged table supporting a Dharma book, bowl of persimmons and three wishing jewels.

At the top center is Marpa Lotsawa Chokyi Lodro (1012-1097) the first Tibetan lineage guru of what would later become the Kagyu Tradition - one of the four pre-eminent schools of Tibetan Buddhism. With short black hair, a moustache and goatee he wears the garments of a layman and with both hands performs the mudra of earth witness. At the left is the main student of Marpa, the famous yogin Milarepa (1040-1123), wearing long black hair, a simple white cotton garment and a red meditation belt. He holds the right hand up to the ear and the left is pressed to the ground behind, seated in a relaxed posture on a grey deerskin. At the right the main student of Milarepa and the main teacher of Dusum Khyenpa, Gampopa (1079-1153), performs with the two hands at the heart the mudra of Dharma teaching. Wearing a red cap with wide lappets he is attired in the orange and red robes of a monk.

At the bottom left is the wrathful activity deity of the Padma Buddha Family, Hayagriva (Horse Neck), red, with one face and two hands holding upraised in the right a skull stick and in the left a lick of red flame. At the right is the wrathful lord of the Vajra Buddha Family, Vajrapani (Vajra Sceptre Holder), blue, with one face and two hands holding upraised a gold vajra in the right hand and the left in a wrathful gesture at the heart. Both wear wrathful vestments and are surrounded by the flames of pristine awareness.

Dusum Khyenpa was the founder of the Karma (Kamtsang) branch of the Kagyu Lineage. He served as Abbot of Daklha Gampo monastery after Gampopa and founded Tsurphu monastery - becoming the seat of the incarnate Karmapa lamas.

肃火斤

附件407.

Central Tibet

1600 - 1699

Sakya, Jonang (Sakya) and Buddhist Lineages

62.23x52.71cm (24.50x20.75in)

Ground Mineral Pigment, Fine Gold Line on Cotton

Collection of Shelley & Donald Rubin

Guhyasamaja, Manjuvajra (Tibetan: sang wa du pa, jam pai dor je. English: Melodious Vajra, Secret Assembly). Bibliographic reference: Shri Vajra Hridaya Lamkara Tantra-nama, Toh 451 and No.44 in the Gyu de Kuntu set of mandalas.

"...Manjuvajra, with a body the colour of purified gold, three faces and six hands. The main face is yellow, the right blue and the left white. The first two hands embrace the Mother. The lower right hands hold a sword and arrow, and the lower left an utpala [flower] and bow; wearing jewel ornaments and having the thirty-two major and eighty minor marks; seated with the legs in the vajra posture. In the lap is the Mother Manjuvajra with three faces and six hands, with the colour, hand objects and embrace, the same as that of the Father. Both are resting in a state of union and emanating forth rays of light." (Written by Jamyang Khyentse Wangchug, 1524-1568 reference).

Lineage of Teachers: Manjuvajra, Buddha Jnanapada, Shri Deva, Vimala Gupta, the two Rinchens, Risul Yogini, Nyen Lotsawa Chogyan, to the Five Masters, Dampa Kunga Drag, Tashi Pal, Kunga Sonam Shap, Do Pal Kirti Shri Khanpa, Sazang Kupon, Ngorchen, Muchen, Gyaltsap Kunkhyen Je, Ratnavardha, Konchog Lhundrup, Sangye Senge, Namkha Pal Zangpo, Chog Leg Khupon, Sempa Chenpo Khyenrab Tendzin Zang, Drowa Sempa Chenpo Khyenrab Tendzin Zang, Drowai Lama Khyenrab Champai Pal, etc.

肃火斤

附件408.

Ratna Dorje Chang surrounded by masters from the Ch

肃火斤

附件409.

Tibet

1700 - 1799

Gelug Lineage

71.12x50.80cm (28x20in)

Ground Mineral Pigment, Fine Gold Line on Cotton

Collection of Rubin Museum of Art

Gendun Gyatso, Dalai Lama II (1475-1542).

肃火斤

附件410.

Lowo Khenchen Sonam Lhundrub: surrounded by various teachers and deities from the Hevajra cycle of Tantras.

Tibet

1600 - 1699

Sakya and Ngor (Sakya) Lineages

63.50x45.72cm (25x18in)

Ground Mineral Pigment, Fine Gold Line on Cotton

Collection of Rubin Museum of Art

肃火斤

附件411.

Tibet

1500 - 1599

Kadam and Uncertain Lineages

28.58x17.15cm (11.25x6.75in)

Ground Mineral Pigment, Fine Gold Line on Cotton

Collection of Rubin Museum of Art

Vajrabhairava, Sahaja Heruka (Tibetan: dor je jig je thung drag lhan chig kye pa, English: Spontaneously Arising Heruka Vajra Terror).

Dark blue in colour with the head of a buffalo, three round eyes, two pointed horns - long and sharp, with the two hands at the heart holding a curved knife and skullcup he embraces the consort Vajra Vetali. Very fierce and wrathful with hair flowing upward like flame, he is adorned with a crown of five skulls, bone ornaments, a necklace of fifty freshly severed heads and wears the hide of an elephant. He stands with the right leg bent and the left straight above a sun disc and lotus seat. The consort Vajra Vetali with one face and two hands holds in the left a skullcup and with the right a curved knife held behind the head of Bhairava, standing on the right leg with the left embracing the waist of Bhairava. They are completely surrounded by the red rays and gold nimbus of the flames of pristine awareness.

At the top left is the bodhisattva Manjushri with one face and two hands holding aloft the flaming sword of wisdom in the right and held to the heart the stem of an utpala blossom supporting the Prajnaparamita sutra with the left. The tutelary deity Vajrabhairava is an emanation of the peaceful Manjushri. At the right is a seated lama wearing monastic robes and a pandita hat, a mendicant staff stands at the side.

In Tantric iconography there are three common uses for the word 'heruka.' (1) In the Sarma traditions heruka generically conveys the meaning of a one faced, two-handed form of any complex male anuttarayoga deity. The principal form of the deities Vajrabhairava, Hevajra, Kalachakra, and the like, have multiple faces, hands and legs and the very essence, or essential form, is heruka, with one face and two hands. (2) In the Nyingmapa School the word generally refers to one of the Eight Sadhana Sections of Mahayoga Tantra such as Vajrakilaya, Samputa, etc. (3) Specific to the Gelugpa School heruka is used as an alternate name for the tutelary deity Chakrasamvara.

Vajrabhairava, practiced in all the Sarma Schools, is an anuttarayoga tutelary deity of the father (method) classification. Of the many lineages to enter Tibet from India the most famous are those of Ra Lotsawa and Mal Lotsawa.

With regard to the style of painting, the background is black and the foreground with the seat, flames and the two minor figures are gold filled. Vajrabhairava is painted with various earth pigments on a red backdrop with gold filaments of light extending out to the flames. The overall style can still be regarded as a 'ser thang' (gold [fill] scroll).

肃火斤

附件412.

Eastern Tibet

1500 - 1599

Karma (Kagyu) Lineage

67.31x55.88cm (26.50x22in)

Ground Mineral Pigment, Fine Gold Line on Cotton

Collection of Rubin Museum of Art

Chodrag Gyatso, the 7th Karmapa (1454-1506): with the hands held at the heart performing the mudra (gesture) of teaching and the head crowned with the black vajra hat. Buddhas, deities and lineage teachers adorn the top and bottom.

肃火斤

附件412.图.

肃火斤

附件413.

Namka Dorje, Dorje Dzinpa (1486-1553): an important Kagyu teacher of the Bara lineage.

Tibet

1600 - 1699

Kagyu Lineage

55.25x38.74cm (21.75x15.25in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

肃火斤

附件414.

Mongolia

1800 - 1899

Nyingma Lineage

33.02x23.50cm (13x9.25in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

Five Personal Gods of the Individual (Tibetan: go wai lha nga). It is believed that the Five Gods are born with and accompany each individual human on their life journey. The five live on the body at the crown of the head, heart, right armpit, left armpit, and right shoulder. They function as private Gods governing health, wealth, luck and good fortune for each person. This belief system is indigenous to Tibet, Mongolia and Central Asia and the Five Gods are tolerated in Buddhism and some small ritual offering texts can be found. The Bon religion presents a richer understanding of the Five Gods along with marriage ceremonies incorporating the Five as necessary elements.

Srog Lha (Life God) is located in the heart of an individual
Yul Lha (Regional God) is located at the crown of the head of an individual.
Po Lha (Male God) is located at the right armpit.
Mo Lha (Female God) is located at the left armpit.
Dra Lha (Enemy God) is located at the right shoulder.