坛城唐卡选集

肃火斤

(唐卡图片来源于 喜玛拉雅艺术网站)
附件01.
Tibet

1500 - 1599

Uncertain Lineage

66.04x62.87cm (26x24.75in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art
Avalokiteshvara, Ekadashamukha Mandala (Tibetan: chen re zi, shal chu chig kyil khor. English: the Circle of the Eleven Faced Lord Gazing on the World): surrounded by the four great mundane gods of the world placed in the four corners.

At the center of the mandala is Avalokiteshvara, peaceful in appearance, with eleven faces rising upward in groups of three, the 10th is wrathful and the face at the top is that of the buddha Amitabha. Each face has two eyes and long black hair flows across the shoulders. With 8 hands the first pair at the heart hold a precious jewel. The three right hands extended to the side are in the mudra of generosity, holding a Dharma wheel and a crystal prayer bead mala. The three on the left hold a water flask, a bow and arrow and a lotus blossom. Each face is adorned with a crown and earrings. Necklaces and bracelets adorn the neck and limbs and the lower body is wrapped with a skirt. Having the two legs together he stands atop a lotus flower surrounded by a nimbus and a smaller aureola about the heads.

The bodhisattva Avalokiteshvara is the patron deity of Tibet and appears in a variety of forms both peaceful, wrathful and in large mandalas surrounded by numerous deities. As a universal symbol he embodies the compassion of all buddhas of the ten directions and three times. In the standing form with 11 faces he is closely associated with the famous bhikshuni (nun) of Kashmir, Lakshmi (Tib.: Ani Palmo), who popularized a meditation practice incorporating a 2 day purification and fasting ritual. However in a large mandala with many deities such as this it was the Acharya Nagarjuna that was responsible for its introduction into Indian Buddhism. Lord Atisha, Rinchen Zangpo and others popularized this practice throughout Tibet.

History: At one time the bodhisattva Avalokiteshvara made a promise that should he give rise to thoughts of self benefit may the head break into 10 pieces and the body into 1000. After continuously witnessing the misery of beings in various states of existence, discouraged, he gave rise to thoughts of seeking only his own happiness. At that very instant the head and body shattered. Calling out to Amitabha, the buddha came forth and spoke words of encouragement. Gathering up the 10 pieces of the head Amitabha constructed 10 faces - representing the 10 perfections. Gathering the 1000 pieces of the body he constructed another with 1000 hands each with an eye on the palm - representing the 1000 buddhas of the Golden Aeon. Finally he placed a duplicate of his own head at the crown - illuminating the entire threefold universe.

肃火斤

附件02.
Tibet

1400 - 1499

Sakya Lineage

Ground Mineral Pigment, Fine Gold Line on Cotton

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. Bibliographic reference: Arya Dakinivajrapanjara Mahatantrarajakalpa Nama

Sanskrit: Hevajra Tibetan: Gye pa dor je

肃火斤

附件03.
Central Tibet

1300 - 1399

Sakya and Buddhist Lineages

67.31x55.88cm (26.50x22in)

Ground Mineral Pigment, Fine Gold Line on Cotton

Sakya Palace Painting School

Collection of Rubin Museum of Art
Chakrasamvara Sixty-two Deity Mandala (Tibetan: khor lo de chog lha drug chu tsa nyi pa'i kyil kor) from the tradition of the mahasiddha Luipa.

Tibetan: Khor lo dem chog

Within the center of the two-dimensional circular diagram (mandala) representing the top view of a three-dimensional celestial palace and surroundings is the tutelary deity Chakrasamvara, blue-black in colour, with four faces and twelve hands. In the first pair of hands are a vajra and bell crossed at the heart embracing the consort red Vajrayogini, surrounded by the flames of pristine awareness. Radiating outward are five circles of variously coloured retinue figures.

At the top center is the primordial buddha Vajradhara, blue in colour with Vajrayogini, red, standing to the left. Further along both sides are the Indian and Tibetan lineage gurus.

The circle at the upper left is the Hevajra Mandala; below that is Ratnasambhava-Chakrasamvara. The circle at the upper right is the Rakta Yamari Manadala. Below that is Amitabha-Chakrasamvara and below that a small figure of Sahaja Kalachakra. The large figure at the lower right is Ekavira Vajra Bhairava, drawn in the Gelugpa style, with green Vajravidarana above and Amoghasiddhi-Chakrasamvara to the left, again with a small Shri Devi to that left. The large figure at the lower left is Akshobhyavajra Guhyasamaja with Arapachana Manjushri above, Vairochana-Chakrasamavara to the right, and a small Panjarnata Mahakala to the right of that.

At the bottom left, the small seated figure in the attire of a monk is possibly the sponsor for the painting. To the right is the wealth deity Jambhala, yellow, with one face and two hands. Again to the right is Chaturbhuja Mahakala, black, with one face and four hands - the special protector of the Chakrasamvara Tantras. Further arranged along the bottom are the special Protector Goddesses.

The painting style, heavily influenced by Nepali aesthetics and a strong penchant for red, is typical of older Sakya and Ngorpa 'tangkas' and wall murals.

肃火斤

附件04.
Tibet

1500 - 1599

Sakya Lineage

38.10x30.48cm (15x12in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art
Rakta Yamari Five Deity Mandala (Tibetan: shin je she mar po kyil khor lha nga. English: the Red Enemy of Death): an emanation of the wisdom bodhisattva Manjushri

肃火斤

附件05.
Vairochana, Maha Sarvavid (Tibetan: kun rig nam par nang dze lha sum chu so dun kyil khor. English: The 37 Deity Mandala of all the Families of Great Vairochana), the central deity of the Sarvadurgati Parishodhana Tantra belonging to the Yoga classification of the four sets of Tantra.

Sanskrit: Vairochana Tibetan: Nam par nang dze

At the center of the circular enclosure is the buddha Maha Vairochana, peaceful, white in colour, with four faces and two hands in the mudra of meditation, seated in vajra posture, surrounded by a nimbus of blue-red light. At the four main directions are the buddhas King of Purification in the east (below), Precious Supreme Conqueror in the south (left), Powerful One of the Shakya Race in the west (above), and Blossoming Great Flower in the north (right). At the intermediate directions are the consorts of the buddhas, Locana, Mamaki, Pandara and Tara. Surrounding those, seated in a circle, are the 16 Vajras. At the four intermediate directions are the 8 female offering goddesses in sets of two, one above the other. All of these have one face and two hands. Enclosing the inner sanctuary is a square frame composed of five walls of various colour with 'T' shaped structures representing doors. The 4 female Door Guardians, Vajrankushi, Vajrapashi, Vajrasphota and Vajraghanta sit at the entranceways.

Seated in the outer enclosure of the palace are 44 figures, the 16 bodhisattvas, 16 sravakas and 12 pratyekabuddhas. Surrounding that is another set of 5 walls and 'T' shaped doors topped with 4 steps, yellow, blue, red and green, two deer, a Dharma wheel and canopy. A wrathful deity with 3 faces and six hands accompanied by 3 wrathful figures guards each of the entranceways. The roof is adorned with yak-tail fans and victory banners. The tips of a giant double vajra extend out from each of the outer doors representing a vajra ground beneath the entire palace structure. Surrounding that is a ring of red lotus petals and a circle of 128 guardian and worldly deities. An ring of gold vajras and an outer ring of five coloured fire of pristine awareness surround the entire mandala.

'Faultless wisdom of the dharmadhatu, Bhagavan Vairochana with the mudra of meditative stabilization; to the All Knowing Bhagavan, I bow.' (Sakya liturgical verse).

At the top left and right are two lama figures both with the hands performing the mudra of Dharma teaching, wearing red robes and pandita hats, seated atop orange mats. At the bottom left is the wrathful protector Panjarnata Mahakala, black in colour, with one face and two hands. At the right side is Shri Devi, black, with one face and four hands, riding atop a mule through a lake of blood. A wooden frame in the shape of a religious shrine cabinet surrounds the painting.

Maha Vairochana is the chief mandala from the set of 12 arising from the Sarvadurgati Parishodhana Tantra (Eliminating All Bad Rebirths). See the Four Great Kings and Chitta Vajrapani from the same series.

Early Lineage: Vairochana, Vajrapani, king Indrabhuti, the younger king Indrabhuti, Acharya Nagarjuna, Nagabodhi, Jnanavajra, Oddiyana Anandagarbha, Rabjor Shenyen, Padmakara Varman, the great Tibetan translator Rinchen Zangpo and the younger translator Legshe.

Jeff Watt 9-99
Central Tibet

1800 - 1899

Sakya and Ngor (Sakya) Lineages

34.29x33.02cm (13.50x13in)

Ground Mineral Pigment, Fine Gold Line on Wood

Collection of Rubin Museum of Art






View other items in:
Thematic Set
Mandalas: Main Page
Collection of Rubin Museum of Art: Painting Gallery VI
Tradition: Sakya Deity Paintings
Buddhist Deity: Sarvavid Maha Vairochana
Painting Style: Tibet (Balri)
Mandalas: Sakya Tradition
Subject: Tantra Text, Sarvadurgati Parishodhana
Collection of Rubin Museum of Art: Mandala
Mandala: Ritual Mandala Plate (Wood)


   

Copyright © 2010 Shelley and Donald Rubin Foundation.
Photographed Image Copyright © 2004 Rubin Museum of Art

肃火斤

附件06.
Bhutan

1800 - 1899

Buddhist Lineage

59.69x43.18cm (23.50x17in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art
Medicine Buddha Mandala (Sanskrit: Bhaishajyaguru mandala. Tibetan: sang gye men la kyil kor. English: the Buddha, Guru of Medicine). At the center representing the goddess Prajnaparamita is the sutra (text) by the same name

肃火斤

附件07.
Shri Hevajra Nine Deity Manadala (Tibetan: pal gye pa dor je lha gu'i khyil kor).
Tibet

1400 - 1499

Sakya Lineage

39.37x34.29cm (15.50x13.50in)

Ground Mineral Pigment, Fine Gold Line on Cotton

Collection of Rubin Museum of Art

肃火斤

附件08.
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09.
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).
Tibet

1500 - 1599

Uncertain Lineage

68.58x33.02cm (27x13in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

肃火斤

附件10.
Shri Hevajra Nine Deity Mandala (Tibetan: pal gye pa dor je'i lha gu'i kyil khor) according to the system of Dombi Heruka from the Hevajra Tantra. Bibliographic reference: Hevajra Tantraraja Nama
Tibet

1500 - 1599

Sakya and Ngor (Sakya) Lineages

41.91x34.93cm (16.50x13.75in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

肃火斤

附件11.
Guhyasamaja Akshobhyavajra Mandala.

Tibet

1700 - 1799

Uncertain Lineage

78.74x67.31cm (31x26.50in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

肃火斤

附件12.
Akshobhya, Vajra (Tibetan: dor je mi drug pa'i kyi khor): the Nine Deity Vajra Akshobhya Mandala in sambhogakaya form according to the tradition of Lord Atisha (982-1054).
Tibet

1700 - 1799

Buddhist Lineage

48.26x38.10cm (19x15in)

Ground Mineral Pigment, Fine Gold Line on Cotton

Collection of Rubin Museum of Art

肃火斤

附件13.
Amitayus Nine Deity Mandala (Tibetan: tse pag me lha gu kyil kor) according to the lineage of mahasiddha Jetari.
Tibet

1800 - 1899

Sakya Lineage

27.94x29.85cm (11x11.75in)

Ground Mineral Pigment, Fine Gold Line on Wood

Collection of Rubin Museum of

肃火斤

附件14.
(不丹唐卡绘画).

肃火斤

附件15.
Kalachakra Mandala from a set of Vajravali paintings commissioned at Ngor Monastery in Tsang province, Tibet by Ngorchen Kunga Zangpo.
Tibet

1400 - 1499

Sakya, Ngor (Sakya) and Buddhist Lineages

Ground Mineral Pigment on Cotton

Collection of Private