唐卡图集(续集)

肃火斤

附件415.

肃火斤

附件416.

Tibet

1700 - 1799

Gelug, Sakya and Ngor (Sakya) Lineages

30.48x30.48cm (12x12in)

Ground Mineral Pigment, Fine Gold Line on Wood

Collection of Rubin Museum of Art

Vajrayogini Mandala (Tibetan: dor je nal jor ma kyil khor, na ro kha chod ma). The dakini Naro Khechari from the tradition of the Indian mahasiddha Naropa.

In the center of two crossed red triangles stands Vajrayogini, red in colour, with one face and two hands. In the left hand she holds upraised to the sky a skullcup and in the right a curved knife pointed downwards. Against the left shoulder rests a katvanga staff decorated with silk streamers. Adorned with a tiara of skulls, bone ornaments and a necklace of fifty skulls, she stands with the two feet placed on the two gods Kalaratri and Bhairava, above a sun disc and lotus, completely surrounded by the orange flames of wisdom.

The two crossed triangles are each bordered by a yellow edge and the two protruding wings at each side contain small white circles. This geometric structure is placed in the middle of a green circle of swirling vine like patterns surrounded by a ring of lotus petals (Sanskrit: padmavali). In an outer circle around that is the light coloured circle of the eight great charnel grounds. Surrounding that is the small blue circle with alternating gold vajras and gold lines (Skt.: vajravali). The outermost circle is composed of the five coloured flames (Skt.: jvalavali) of the fires of pristine awareness.

Vajrayogini belongs to the 'wisdom class' of Anuttarayoga tantra and arises specifically from the Chakrasamvara cycle of Tantras. In Tibet, the practice of Naro Khecari is included amongst the 13 Golden Dharmas of Glorious Sakya. In more recent times the practice has gained popularity within the Gelugpa School.

Distant Lineage: Vajradharma, Vajrayogini, Mahasiddha Ghantapada, Tengipa, Antarapa, Tilopa, Naropa, etc.

Near Lineage: Vajradhara, Vajrayogini, Naropa, the Phamtingpa brothers, Lokkya Sherab Tseg, Mal Lotsawa Lodro Dragpa, Sachen Kunga Nyingpo (1092-1158), etc.

The painting style with dominant red and blue colours and the intricate floral background designs shows a strong Nepali influence.

肃火斤

附件417.

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

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

Within the center of the two dimensional circular diagram (mandala) representing the top view of a three dimensional celestial palace and surroundings is the deity Shri 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, standing on the left leg with the right embracing Hevajra. They are both adorned with bone ornaments and stand atop four corpses above a pink lotus within the flames of pristine awareness.

Surrounding the central figures are eight goddesses in various colours, each with one face and two hands, standing in a dancing posture on the left leg above a corpse and lotus seat. Beginning from the top and moving in a clockwise direction they are yellow Vetali, multi-coloured Dombini, green Ghasmari, blue Pukkasi, black Gauri, white Shavari, red Cauri, and purple Candali. They are all adorned with bone ornaments and a necklace of fifty skulls and each holds their own distinct hand objects.

The floor of the celestial palace is divided into four colours ornately patterned with floral designs: red, blue, white and yellow. On the red veranda outside of the palace walls, on each side of the four doors ('T' shaped), are two dancing offering goddesses white in colour, sixteen in total. The outer blue and white lines forming a square enclosure represent 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 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 (Sanskrit: visvavajra) with only the prongs and makara heads (an Indian mythological sea creature) appearing on the four sides. The outer circle containing small figures on a background landscape is the ring of the eight great charnel grounds filled with corpses, fires, caityas, yogis, nagas, and wrathful worldly deities. Surrounding that is a circle of multi-coloured (rectangular) lotus petals representing the enormous lotus upon which the entire palace and charnel ground structure rests. The final ring is composed of the multi-coloured fires of pristine awareness completely enveloping the entire Hevajra Mandala.

In the upper left corner is the Mahasiddha Dombi Heruka (9th century), holding a snake in the right hand, embracing the consort with the left and riding a tigress. To the right is Sachen Kunga Nyingpo (1092-1158), wearing the attire of a layman, performing the mudra (gesture) of generosity with the right hand and holding the stem of a white lotus to the heart, blossoming at the ear.

At the bottom left is the special guardian of the Hevajra Tantra, Panjarnata Mahakala, black, with one face and two hands holding a curved knife and skullcup, standing above a corpse and lotus seat surrounded by flame. At the right is Mahakali Shri Devi, light blue and emaciated, with one face and four hands holding a sword and skullcup in the right and a trident and spear in the left, riding a light brown donkey standing in an ocean of blood.

Shri Hevajra is a tutelary deity of the Anuttarayoga non-dual classification. From the many Hevajra Tantras, and forms of the deity, this representation of Hevajra arises from the root Hevajra Tantra of 'two sections' and was popularized by the Indian mahasiddha (the one of great accomplishment) Dombi Heruka.

Lineage: Vajradhara, Nairatmya, Virupa, Acarya Dombi Heruka, Alala Vajra, Nag Tropa, Garbharipa, Jaya Shrjnana, Acarya Durjayacandra, Bikshu Viravajra, Drogmi Lotsawa, Ngaripa Salwa'i Nyingpo, Khon Gyichuwa Drala Bar, Sachen Kunga Nyingpo (1092-1158), etc.

The style of the painting is Nepali, evidenced by the use of bright red and blue colours and the intricate circular floral patterns used in the background.

肃火斤

附件418.

Tibet

1700 - 1799

Nyingma and Gelug Lineages

69.85x58.42cm (27.50x23in)

Ground Mineral Pigment, Fine Gold Line on Cotton

Collection of Rubin Museum of Art

Avalokiteshvara, Sahasrabhuja Ekadashamukha (Tibetan: chen re zi, chag tong, shal chu chig. English: the All Seeing Lord with 1000 Hands and 11 Faces).

肃火斤

附件419.

Tibet

1700 - 1799

Buddhist Lineage

48.26x38.10cm (19x15in)

Ground Mineral Pigment, Fine Gold Line on Cotton

Collection of Rubin Museum of Art

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).

At the center of the mandala, dark blue in colour, is buddha Akshobhya. The right hand is extended across the knee in the mudra of earth touching. The left placed in the lap in the mudra of meditation supports a gold upright vajra - the sign of the family. Adorned with a gold crown decorated with red ribbons, earrings, necklaces and bracelets, he wears a green scarf about the shoulders and a lower garment of red silk. With the legs folded in vajra posture above a moon disc and pink lotus seat, he is surrounded by a nimbus of yellow light and a dark green areola.

The Goddesses of the 8 Auspicious Emblems occupy the surrounding circle. 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 white below - east, red at the top - west, yellow at the left - south, and green to the right - north. The square shape of the enclosure marks the extent of the palace walls and the 'T' shaped structures are the four doors topped with four lintels, red, blue, green and yellow, each crowned with a Dharma wheel. Surrounding those can be seen the tips of the large double vajra on which the entire palace stands. Outside of that is a ring of variously coloured lotus petals, a ring of gold vajras on a black background and the ring of the five-coloured flames of pristine awareness.

At the top left against a sky of green and blue billowing clouds is the buddha Shakyamuni, golden in colour, with the right hand in the earth touching mudra and the left placed in the lap. Seated on a pink lotus he is surrounded by blue and green light. At the right side is the bodhisattva Maitreya, gold, with the two hands at the heart performing the mudra of teaching while holding the stem of a single lotus blossoming at the side.

On a foreground of green hills and blue water, at the left is Lord Atisha with the two hands in the Dharma teaching mudra at the heart. Attired in the orange and red robes of a monk, he wears the red pandita hat on the head, and seated on a cushion. A golden stupa and colourful travelling bag stand at the side. At the right is a lama performing the mudra of generosity with the right hand and the mudra of blessing with the left. Attired in the garb of a monk he wears a pandita hat folded across the crown of the head; seated on a blue cushion.

This form of buddha Akshobhya belongs to the Kriya classification. Kriya tantra is divided into 3 Buddha Families - Tathagata, Vajra and Padma. Akshobhya is the head of the Vajra Family.

肃火斤

附件420.

Tibet

1800 - 1899

Gelug and Sakya Lineages

67.31x48.90cm (26.50x19.25in)

Ground Mineral Pigment, Fine Gold Line on Cotton

Collection of Rubin Museum of Art

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]). This painting was commissioned in 1864 by a loving husband to honour the memory of his deceased wife.

肃火斤

附件421.

Shakyamuni Buddha (Tibetan: sha kya thu pa, sang gye, English: the Enlightened One, Sage of the Shakya Clan) together with the two foremost students Shariputra and Maudgalyayana, the 16 Arhats, Dharmata, Hvashang and the Kings of the Four Directions.

Elegant and formal in posture, golden in colour, gazing forward with perfect symmetry, the hair on the head is piled in a topknot (Sanskrit: ushnisha) crowned with a gold ornament. The earlobes are long and pierced from his youth spent as a prince. A white dot (Skt.: urna) adorns the forehead between the eyebrows. The right hand is extended across the knee with the fingertips touching the ground calling the personified goddess of the earth to witness the moment of enlightenment. The left hand placed in the lap in the mudra (gesture) of meditation supports a black begging bowl - a gift from the Kings of the Four Directions. Wearing red and orange coloured patchwork robes constructed from strips of discarded cloth and uniformly dyed with common saffron. The right arm is bare and the left covered in the fashion of Buddhist monks. Seated with the two feet crossed in vajra posture, right over left, atop a moon disc and multi-coloured lotus seat above a snow lion supported throne, he is surrounded by radiant light of blue and orange and an areola of dark blue. Lotus stems and large pink blossoms decorate the outer edge.

Standing at the left side is Shariputra holding a monk's staff in the right hand and a begging bowl in the left, attired in red and orange coloured robes, encircled by radiant light. Standing at the right is Maudgalyayana holding the same objects and dressed in the same attire. Displayed on a small table in front of the throne is a begging bowl, Dharma wheel, conch shell, lute and a gold mirror.

Descending from the top left are the first 8 Arhats: [1] Angaja holds a fly whisk and incense bowl. [2] Ajita has the head covered and the hands in the meditation mudra. [3] Vanavasin with the mudra of explication and holding a fly whisk. [4] Kalika holds a gold earring in each hand. [5] Vajriputra with a fly whisk and hand gesture. [6] Bhadra performs the mudras of explication and meditation. [7] Kanakavatsa holds a jewel lasso in both hands. [8] Kanaka Bharadvaja has both hands in meditation.

The remaining 8 Arhats: [9] Bakula holds a mongoose. [10] Rahula holds a jewelled tiara. [11] Chudapantaka has both hands in meditation. [12] Pindola Bharadvaja holds a book and begging bowl. [13] Pantaka holds a book and performs the mudra of explication. [14] Nagasena holds a vase and staff. [15] Gopaka holds a book. [16] Abheda holds a stupa. Each is attired in red and orange robes and sits on a decorative chair or cushion.

Below the table at the front of the throne, on the left side sits Hvashang, the patron to the arhats sent by the Chinese Emperor to invite the Buddha Shakyamuni to the imperial court. He is round and portly holding in the right hand a wishing jewel and in the left upraised a persimmon fruit. A small child sports in front. At the right side is the layman Dharmata, the chief attendant to the arhats. In the right hand is a water flask streaming with vapours projecting above the form of the Buddha Amitabha. The left hand holds a fly whisk. Strapped across the back is a bundle of religious books. A tiger stands at the side as a faithful companion to the layman and protector of the arhats. Attired in a cloak of rich brocade and various garments, he sits in a Western style with the two legs pendant. Below the two is a pond filled with wishing jewels and precious objects.

At the bottom in a row are the Kings of the Four Directions. Starting from the left is Virudhaka holding a sword, Dhritarashtra a lute, Virupaksha a stupa and a snake lasso, and the leader, Vaishravana, holding a victory banner and a mongoose. With elaborate headdresses and the garb of warriors, they sit in relaxed postures surrounded by smoke and clouds.

The Lord Atisha (982-1054) and the Kashmiri pandita Shakya Shribhadra (1127-1225) popularized the ritual service and offerings to the Buddha Shakyamuni and 16 Arhats.

肃火斤

附件422.

Lobzang Chokyi Gyaltsen: the First Panchen Lama (1570-1662) and tutor to the Great Fifth Dalai Lama.

With a wizened face betraying the years he wears the patched orange robes of a fully ordained monk and a yellow monk's cap. The right hand upraised performs the mudra of explication of the Teaching and the left holds a book close to the heart. Seated with a meditation cloak wrapped about the legs he rests on several layers of ornate cushions in front of an elaborate backrest of silk brocades.

At the top left is the long-life Chakrasamvara, white in colour, with one face and two hands holding a long-life vase in each crossed at the heart embracing the consort red Vajrayogini. In vajra posture they are seated on a lotus blossom amongst trails of spreading pink clouds. To the right the root guru Khedrup Sanggye Yeshe is seated on a bed of lotus leaves, wearing monastic robes and a yellow pandita hat. The right hand performs the earth-witness mudra and the left is placed in the lap in the mudra of meditation.

At the middle right, dwelling inside a rainbow sphere, is the bodhisattva Maitreya, orange in colour, holding the stem of a lotus with the left hand - the blossom supporting a gold water flask. An inquisitive mahasiddha and a reverential monk are seated to the front.

At the bottom left is the deity of wealth and guardian of the northern direction, Vaishravana, yellow in colour, holding aloft a victory banner in the right hand and a mongoose in the lap with the left; seated on a white snow lion with a green mane. To the right is the wrathful protector Begtse Chen, red, with one face and two hands holding an upraised sword in the right hand and a heart and spear in the left; clothed in the garb of a warrior.

The Panchen Lama line of incarnation (tulku) was started by the Fifth Dalai Lama in 1667. Regarded as emanations of Amitabha their principal seat of power is the Tashi Lhunpo monastery of Southern Tibet.

Tibet

1700 - 1799

Gelug and Buddhist Lineages

68.58x39.37cm (27x15.50in)

Ground Mineral Pigment, Fine Gold Line on Cotton

Collection of Rubin Museum of Art

肃火斤

附件423.

Tibet

1700 - 1799

Gelug Lineage

53.34x34.93cm (21x13.75in)

Ground Mineral Pigment, Fine Gold Line on Cotton

Collection of Rubin Museum of Art

肃火斤

附件424.

Rolpai Dorje, the 4th Karmapa (1340-1383) wearing the black crown and Khacho Wangpo, the 2nd Shamarpa (1350-1405).

Along the bottom are two registers of figures. The upper register is composed of the ten great bodhisattvas beginning on the proper right with Avalokiteshvara, Maitreya, Manjushri, Vajrapani, etc. The bottom register, beginning at the right, includes red Maharakta Ganapati with an elephant head and twelve arms, yellow Vasudhara with six arms, followed by the Five Deities of the Mahamaya Cycle, Simhanada Avalokiteshvara riding a lion, and blue Mahachakra Vajrapani with three faces and six arms.

Tibet

1500 - 1599

Karma (Kagyu) Lineage

87.00x59.69cm (34.25x23.50in)

Ground Mineral Pigment, Fine Gold Line on Cotton

Collection of Rubin Museum of Art

肃火斤

附件425.

肃火斤

附件426.

肃火斤

附件427.

肃火斤

附件428.

肃火斤

附件429.

Tongwa Donden, the 6th Karmapa (1416-1453) and Jampal Zangpo. Karmapa with the hands held to the heart performs the mudra (gesture) of teaching, and the head adorned with the black vajra hat. The deity Prajnaparamita, orange in colour, sits between the two lamas, with numerous buddhas above and lineage teachers below.

Tibet

1500 - 1599

Karma (Kagyu) Lineage

88.90x62.23cm (35x24.50in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art