唐卡图集(二)

肃火斤

附件51.

White Tara (Tibetan: drol ma kar mo, English: Saviouress): Bestower of Long-Life.

Peaceful and smiling, she has one face and two hands and a total of seven eyes with the extras on the forehead and palms of the hands and feet. The right hand performs the mudra (gesture) of supreme generosity with the palm open and facing outward. The left hand holds to the heart with the thumb and ring finger the stem of a lotus blossoming above the shoulder. Adorned with a tiara of gold and jewels, earrings, necklaces and the like, she wears dark green silks and lower garments of red and blue. In a rainbow sphere atop a moon disc and multi-coloured lotus blossom she sits in vajra posture radiating a nimbus of blue and orange light.

At the top center is buddha Amitabha, red in colour holding a begging bowl in the lap. Below that is the slightly fierce Vajravidarana, green in colour, holding a visvavajra at the heart with the right hand and a bell turned upwards and held in the lap with the left. Both are seated in vajra posture.

Below the rainbow sphere are three figures of Green Tara with the right hand in the mudra of generosity and the left holding a lotus flower; seated with the right legs extended. Below to the right and left are two forms of Vasudhara (Tib.: nor gyun ma), the goddess of wealth, yellow in colour. At the bottom center is the tutelary deity and protector, Hayagriva, red in colour, with three faces and six hands; surrounded by the flames of pristine awareness. Arranged in front are three skull bowls filled with wrathful offerings.

Encircling the central Tara and filling all of the surrounding space are 100 small White Tara figures each in identical appearance. From the application of gold paint as an offering all the white Taras appear yellow in colour. Classified as Kriya Tantra and practiced in all traditions of Tibetan Buddhism she was popularized by Jowo Atisha, Nyen Lotsawa, Bari Lotsawa and Kashmiri Pandita Shakyashri.

Tibet

1700 - 1799

Uncertain Lineage

68.58x49.53cm (27x19.50in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

肃火斤

附件52.
Wangdu Nyingpo, Thuchen (c.1763-c.1806): Patriarch of the Khon Family, the 29th Sakya Trizin, the second Guru Rinpoche of this Age and a renowned Terton (finder of Revealed Treasure), surrounded by tutelary deities and the figures of previous lives.

Tibet

1700 - 1799

Sakya Lineage

63.50x42.55cm (25x16.75in)

Ground Mineral Pigment, Fine Gold Line on Cotton

Collection of Rubin Museum of Art

肃火斤

附件53.
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.

Central Tibet

1800 - 1899

Sakya and Ngor (Sakya) Lineages

29.21x21.59cm (11.50x8.50in)

Ground Mineral Pigment, Fine Gold Line, Red Background on Cotton

Collection of Rubin Museum of Art

肃火斤

附件54.
Simhamukha, Dakini (Tibetan: seng ge dong chen kha dro ma, English: the Dakini Having a Lion Face) along with two attendants; from the lineage of Bari Lotsawa.

Tibet

1800 - 1899

Gelug Lineage

77.47x51.44cm (30.50x20.25in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

肃火斤

附件55.
Chemchog Heruka: wrathful, dark blue in colour, with three faces and six hands, embracing the consort. Five similar forms surround the central figure. At the top and bottom are numerous retinue figures with a variety of faces, animal and otherwise.

Tibet

1800 - 1899

Nyingma Lineage

69.85x45.72cm (27.50x18in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

肃火斤

附件56.
Sitatapatra: Vajra Ushnisha Sitatapatra, (Tibetan: dor je tsug tor dug kar mo, English: The White Parasol One of the Vajra Crown Protuberance [of the Buddha]).

Tibet

1800 - 1899

Buddhist Lineage

54.61x40.64cm (21.50x16in)

Ground Mineral Pigment, Fine Gold Line on Cotton

Collection of Rubin Museum of Art

肃火斤

附件57.
Eastern Tibet

1700 - 1799

Karma (Kagyu) and Buddhist Lineages

97.79x67.31cm (38.50x26.50in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

White Chakrasamvara, Life Accomplishing (Tibetan: kor lo dom pa kar po tse drup): together with various deities of the Chakrasamvara cycle of tantras from the lineages of Rechungpa and Shakyashri Bhadra. From a set of twenty-seven paintings of meditational deities (Tib.: yi dam) commissioned by Situ Panchen Chokyi Jungne in the mid 1700s. The deity figures are painted in a Khyenri painting style following the original Gongkar Chode Monastery models. The landscape background follows a Chinese model. See a de-construction of the painting elements with a separation between the deities and the landscape.

Centrally located, white in colour, slightly peaceful and slightly wrathful with three eyes, he has one face and two hands holding a vajra and bell crossed at the heart embracing the consort red Vajravarahi. Adorned with a crown of five skulls, multi-coloured double vajra (Sanskrit: visvavajra) and crescent moon, earrings, necklaces and bracelets, he wears a tiger skin lower garment, seated in vajra posture with the right leg placed over the left. Vajravarahi holds a curved knife upraised in the right hand and wears a garland of skulls, seated in the lap of Chakrasamvara with the legs embracing the Lord. Above a moon disc cushion and multi-coloured lotus blossom of red and blue petals they dwell surrounded by the orange flames of pristine awareness.

At the top center is White Chakrasamvara Bodhi Siddha (Demchog Karpo Jangchub Drubpa) with one face and two hands holding a vajra and bell embracing the consort red Vajrayogini. Standing on a sun disc they are surrounded by the flames of wisdom fire. At the left is White Amitayus according to the lineage of Rechungpa, peaceful, with one face and four hands seated, embraced by a four handed red Yogini. He holds a vajra aloft in the right hand and a crystal mala in the left. The central pair of hands placed in the meditation gesture support a long-life vase in the lap. In vajra posture, seated above a moon disc and lotus blossom they are wreathed by soft rays of light - pink and green. At the right side is Avalokiteshvara Heruka, blue, with three faces and six hands holding a vajra and bell embracing a red yogini. The second pair of hands hold a damaru drum and skullcup, the third pair a fresh outstretched hide of an elephant. Standing atop two prone figures white in colour and a sun disc, they are surrounded by the five coloured flames of pristine awareness.

At the bottom center is the slightly wrathful long-life deity Amaravajra Devi (Tib.: chi me dor je lha mo), white with eight faces and sixteen hands holding various objects. Adorned with a crown of skulls, wrathful ornaments, a necklace of heads and a tiger skin as a lower garment. Standing above a sun disc and multi-coloured lotus she is surrounded by the orange flames of wisdom fire. At the left is the peaceful goddess Vijaya (Tib.: nam gyal ma. English: Victorious), white, with one face and two hands holding a gold visvavajra to the heart in the right hand and a begging bowl in the lap with the left. Adorned with various silks, gold and jewel ornaments, she sits on a white lotus with a pink hue surrounded by a blue nimbus and bright red aureola. At the right side is the wisdom deity White Vajravarahi (Tib.: pag mo she rab sal che) with one face and two hands holding upraised in the right a gold vajra and a skullcup to the heart with the left. Adorned with bone ornaments and a garland of skulls she stands surrounded by flames of wisdom fire.

As the foremost tutelary deity of the wisdom-mother classification of Anuttarayoga Tantra, Chakrasamvara is common to all Sarma Schools - Sakya, Kagyu and Gelug. Within the latter he is commonly referred to as Heruka. Among the many different forms and mandalas of practice this figure of white Chakrasamvara is specifically employed for the attainment of long-life and was predominantly introduced to Tibet by the Kashmiri Pandita Shakyashri Bhadra in the 12th century. (Name inscriptions written in fine gold lettering accompany each deity. Some syllables are illegible).

The deity figures are sketched and painted in a Khyenri style first seen at Gongkar Chode Monastery in Central Tibet. The colours are very bright and the paint is layered very thick. The halos, or circles of fire, around the figures are nearly a perfect circle and the detailing is fine and intricate with the eye being able to look intently at small aspects of the figures and decorations. These are all characteristics of the Khyenri style of painting. The background is following a Chinese style of landscape painting with grassy expanses and distant green hills. The landscape is almost completely independent of the Tantric deities super-imposed onto the composition. It is as if any deities, peaceful or wrathful, could just be dropped onto the landscaped canvas

肃火斤

附件58.
Tseringma, (Tibetan: ta shi tse ring ma che nga. English: Auspicious Mistress of Long-life - Five Sisters).

Tibet

1800 - 1899

Nyingma and Kagyu Lineages

46.36x29.21cm (18.25x11.50in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

肃火斤

附件59.
Three Families Parnashavari (Tibetan: ri tro ma rig sum, lo ma gyun ma. English: the Mountain Ascetic - Wearing Leaves), the goddess who protects from contagious illness according to the Segyu lineage.

China

1700 - 1799

Gelug Lineage

46.99x31.75cm (18.50x12.50in)

Ground Mineral Pigment, Fine Gold Line on Cotton

Collection of Rubin Museum of Art

肃火斤

附件60.
Magzor Gyalmo, Shri Devi (English: Queen of the Weapon Army, Glorious Goddess), wrathful form of the peaceful goddess Sarasvati

China

1800 - 1899

Gelug Lineage

72.39x49.53cm (28.50x19.50in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

肃火斤

附件61.
Rakta Lokeshvara (Tibetan: chen re zi mar po. English: the Red Lord of the World), a meditational form of the bodhisattva Avalokiteshvara.

Peaceful in appearance, dark red in colour, he has one face with the hair piled on the top of the head with long black tresses falling across the shoulders. The right hand is extended downward in the mudra of supreme generosity with the palm facing outward. The left hand holds the stem of a pink lotus flower blossoming over the shoulder. Adorned with a crown of gold and a small image of the buddha Amitabha, jewel ornaments, earrings, necklaces, bracelets and anklets, he wears a long green scarf and a deerskin across the left shoulder. The lower body is garbed in a blue and orange brocade skirt. Atop a white moon disc and multi-coloured lotus seat, he stands surrounded by a blue nimbus, ringed with a thick garland of variously coloured flowers, and a green areola.

At the top center is the buddha of 100 Families, Vajrasattva, white, with the right hand holding a vajra to the heart and the left a bell at the hip. At the left is Shakyamuni buddha, with the right hand in the earth touching mudra and the left holding a black bowl. To the left corner is the future buddha, Maitreya, with the right hand at the heart in the mudra of blessing and the left in the lap holding a gold water flask. The front of the topknot on the crown of the head is marked with a small stupa. At the right side is Amitabha buddha, red, with the hands in the mudra of meditation supporting a black begging bowl. At the right corner is Manjushri Namasangiti, orange, with one face and four hands holding a sword, book, bow and arrow.

Surrounding the central figure are 13 worldly deities seated on lotus flowers arising from thin tethers of gold emanating from various parts of the body of Lokeshvara. At the top is Shiva holding a hand drum and trident. Descending at the right is yellow Brahma with four faces and four hands and orange Surya holding an orb of the sun on a lotus blossom. Below is white Varuna with a hood of seven snakes and holding a snake; riding a makara sea creature. Below that is a blue deity holding a banner, riding a brown goat, and below that is the white naga Ananta holding a flower. Descending from the upper left is a blue deity holding a lute. To the left of that is Chandra holding an orb of the moon. Below is green Vishnu with four hands, riding on a garuda and below is red Agni holding a stick and a red triangle of flame; riding a goat. Below that is the king of the Four Guardians of the Directions, Vaishravana, yellow, holding a banner in the right hand and a mongoose in the left. Below that is an orange deity holding a gold vase and riding a green sea creature.

At the lower left is red Hayagriva, wrathful, holding a stick and lasso. At the left corner is white Ganesha with an elephant head and six hands, in a dancing posture with the right leg drawn up standing on a blue rat. At the lower right is the wrathful protector Shadbhuja Mahakala, black, with one face and six hands, standing on a prone white elephant, surrounded by orange flames. At the right corner is the long-life goddess Ushnishavijaya, white, with three faces and eight hands.

At the bottom center is a naked male figure holding a white conch shell at the chest. From the top of the head a gold tether extends up to the feet of Avalokiteshvara. This is likely the deceased person in whose memory the painting was commissioned

Tibet

1800 - 1899

Gelug Lineage

70.49x45.72cm (27.75x18in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

肃火斤

附件62.
Tibet

1500 - 1599

Sakya and Ngor (Sakya) Lineages

72.39x67.31cm (28.50x26.50in)

Ground Mineral Pigment, Fine Gold Line on Cotton

Gyangtse Painting School

Collection of Rubin Museum of Art

Dharmadhatu Vagishvara Manjushri with 219 Deities (Tibetan: jam pal cho ying sung gi wang chug lha nyi gya dang chu gui kyil kor): a complex form of the deity Manjushri, first of the seven principal mandalas from the Manjushri Namasangiti Tantra [TBRC W22003].

Manjushri is the deity in the middle of the complex circular mandala (center and circumference). He has four faces and eight hands, seated in the cross legged vajra posture. His colour can be either white or orange. The first circle of surrounding deities are the Buddhas of the four directions with attendants and consorts, each in the same appearance as the central figure. Other deities totalling 219 surround the central figures extending outward in descending rank.

Along the top register are fifteen forms of Manjushri. The last three on the right are the Six-faced Yamari, blue-black in colour with six hands, followed by Krishna Yamari, black in colour with two hands and Krishna Yamari with three faces and six hands. All three are fearsome in appearance and stand in a menacing posture. The Six-faced Yamari represents one of the seven principal mandalas of the Namasangiti.

At the upper left is the mandala of Orange Arapachana Manjushri, orange in colour, surrounded by four retinue deities in various colours. This mandala also belongs to the namasangiti Tantra. At the upper right is the mandala of White Arapachana Manjushri, white in colour, surrounded by four retinue deities all white in colour. This form of Arapachana arises from the Siddhaikavira Tantra.

At the bottom left is White Achala, Blue Achala and White Tara. Blue Achala is the special protector of the Siddhaikavira Tantra.

  Mandala of
Manjushri - Dharmadhatu Vagishvara
(item no. 455)
Tibet

1500 - 1599

Sakya and Ngor (Sakya) Lineages

72.39x67.31cm (28.50x26.50in)

Ground Mineral Pigment, Fine Gold Line on Cotton

Gyangtse Painting School

Collection of Rubin Museum of Art

(acc.# F1996.15.2)

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Dharmadhatu Vagishvara Manjushri with 219 Deities (Tibetan: jam pal cho ying sung gi wang chug lha nyi gya dang chu gui kyil kor): a complex form of the deity Manjushri, first of the seven principal mandalas from the Manjushri Namasangiti Tantra [TBRC W22003].

Manjushri is the deity in the middle of the complex circular mandala (center and circumference). He has four faces and eight hands, seated in the cross legged vajra posture. His colour can be either white or orange. The first circle of surrounding deities are the Buddhas of the four directions with attendants and consorts, each in the same appearance as the central figure. Other deities totalling 219 surround the central figures extending outward in descending rank.

Along the top register are fifteen forms of Manjushri. The last three on the right are the Six-faced Yamari, blue-black in colour with six hands, followed by Krishna Yamari, black in colour with two hands and Krishna Yamari with three faces and six hands. All three are fearsome in appearance and stand in a menacing posture. The Six-faced Yamari represents one of the seven principal mandalas of the Namasangiti.

At the upper left is the mandala of Orange Arapachana Manjushri, orange in colour, surrounded by four retinue deities in various colours. This mandala also belongs to the namasangiti Tantra. At the upper right is the mandala of White Arapachana Manjushri, white in colour, surrounded by four retinue deities all white in colour. This form of Arapachana arises from the Siddhaikavira Tantra.

At the bottom left is White Achala, Blue Achala and White Tara. Blue Achala is the special protector of the Siddhaikavira Tantra.



At the bottom right is Green Tara, Yellow Jambhala and Black Jambhala.

Along the very bottom of the painting is a lengthy inscription dedicating the painting in honour of the Five Superiour Teachers of Sakya (Jetsun Gongma Nga) by Rabjampa Tsultrim Ozer and other students of the teacher Sherab Zangpo.

The Manjushri Namasangiti Tantra was first translated into Tibetan in the 8th century and re-translated during the Sarma period in the 11th century and classified as both a Yoga and Anuttarayoga Tantra. It depicts numerous forms of Manjushri both peaceful, wrathful and full mandalas with many deities such as the Dharmadhatu Vagishvara. Monks and lamas from all traditions memorize the Tantra in early childhood.

Lineage of Teachers: The Perfect Buddha, Holy Manjughosha, Khache Yeshe Dorje, Lobpon Jampal Dragpa, Kepa Palpe Zangpo, Dramze Yeshe Dorje, Sherab Jungne Bepa, Dramze Shepa Dorje, Padmakaravarmin, Shraddhakaravarmin, Lochen Rinchen Zangpo, Lochung Legpai Sherab, Ngog Ge Serwa, Kyangpo Dharma Drag, Triton Kunga Ozer, Khenpo Chokyi Dorje, Kunkhyen Choku Ozer, Pagod Yontan Gyatso, Buton Rinchen Drub, Tugse Rinchen Namgyal, Jamyang Dragpa Gyaltsen (1365-1448), Sharchen Yeshe Gyaltsen (d.1406) [TBRC P3094], etc.

肃火斤

455-gif,背面图:

肃火斤

附件63.
Jigten Choto (Sanskrit: Lokastotrapuja) the 7th in the set of Eight Pronouncement Deities of the Nyingma Tradition, associated with the Indian Adept Rambuguhya.

Tibet

1700 - 1799

Nyingma and Buddhist Lineages

76.20x53.34cm (30x21in)

Ground Mineral Pigment, Fine Gold Line on Cotton

Collection of Rubin Museum of Art

肃火斤

附件64.
Manjushri Yamari (Tibetan: jam pal shin je. English: Glorious Melodious Speech, Enemy of Death): from the Revealed Treasure (terma) tradition of the Nyingma School.

Tibet

1800 - 1899

Nyingma Lineage

45.72x34.93cm (18x13.75in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art