坛城唐卡选集

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Krishna Yamari with Vajra Vetali (Tibetan: shin je she nag).

The following translated description of Yamari is from an the edited version of the Bari Gyatsa by Ngorchen Konchog Lhundrub and describes the male deity only. There are numerous forms of Krishna Yamari although most forms are found either in the Kriya or anuttaryoga Tantras. There are also numerous Terma (Revealed Treasure) forms of the deity belonging to the Nyingma and various Kagyu Traditions of Tibetan Buddhism:

"Krishna Yamari (Tib.: shin je she nag po. English: the Black Killer of Death).

"Yamari has a body black in colour, six faces and six hands. The main face and one above it are black. The right face and one above it are white. The left face and one above it are red. The first two hands hold a vajra and bell crossed at the heart. The middle two hold a skullcup and lasso. The last two hold a sword and staff. Standing with the front two legs in the vajrasana [posture], the middle two have the right bent and the left straight [and] the last two have the left bent and the right straight. The hair, eyebrows and beard are orange and flowing upwards, with a crown of five dry skulls and a necklace of fifty fresh [skulls]. Adorned with snake and jewel ornaments. Having a tiger skin as a lower garment." (Konchog Lhundrub, 1497-1557).

Tibet

1400 - 1499

Sakya, Ngor (Sakya) and Buddhist Lineages

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

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Tibet

1400 - 1499

Sakya, Ngor (Sakya) and Buddhist Lineages

81.92x73.66cm (32.25x29in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

Vajravali, Ngor Mandala. (Tibetan: dor je treng wa): painting #13 from a set of fourteen paintings, with a possible fifteenth painting as the centerpiece, depicting the forty-two mandalas of the Vajravali Ritual text compiled by Abhayakaragupta in the 11th century. Currently only seven others from the set are known. The Guimet Museum in Paris (#2), the Kimball Museum in Texas (#14) and the Philadelphia Museum of Art (#5) each have one painting. The four remaining paintings are found in private collections in Europe and the USA (#7, #8, Kalachakra #11, Vairochana Manjuvajra #13 shown above). The Kimball Museum painting is the last in the sequence and portrays the last four mandalas of the Vajravali series as constructed by Ngorchen Kunga Zangpo.

The paintings were commissioned by Ngorchen Kunga Zangpo (1382-1456) between 1430 and 1456 to commemorate the passing of one of his principal spiritual teachers, Sazang Pagpa Shonnu Lodro (1358-1412/1424). The work was done at Ngor Monastery, Tsang Province, Tibet, by six Newar artists from Kathmandu Valley including the artist Wanguli and his brother.

The four mandalas pictured in this painting are: at the top left Dharmadhatu Vagishvari fifty-three deity mandala (Vajravali #25), top right Navoshnisha Shakyasimha thirty-seven deity mandala (Vajravali #24), bottom left Bhutadamara Vajrapani thirty-three deity mandala (Vajravali #26), and bottom right Marichi twenty-five deity mandala (Vajravali #27).

The Philadelphia Museum of Art has another painting from a different Vajravali set but likely from the same atelier and time period titled Six Chakravartins as does the Freer Gallery of Art with a painting depicting four mandalas.

See Early Tibetan Mandalas: The Rossi Collection.

Also see: Sacred Visions, Early paintings from Central Tibet. Steven M. Kossak and Jane Casey Singer. The Metropolitan Museum of Art, 1998. (Exhibition web page).

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81826 - gif,局部 6-1.

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81826-gif,局部 6 -2.

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81826-gif,局部 6-3.

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81826-gif,局部 6 -5.

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Tibet

1600 - 1699

Sakya and Buddhist Lineages

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

Shri Hevajra Nine Deity Mandala (Tibetan: pal gye pa dor jei lha gui kyil khor) according to the Lamdre system of the mahasiddha Virupa. Bibliographic reference: Hevajra Tantraraja Nama. See an explanation of the Hevajra Mandala Elements.

Sanskrit: Hevajra Tibetan: Gye pa dor je

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 and consort with eight attendant goddesses.

Along the top register starting at the left are the lineage of teachers beginning with Vajradhara, Nairatmya, Virupa, Kanha, Damarupa, Avadhutipa, Gayadhara, Drogmi Lotsawa, Seton Kunrig, Shangton Chobar, Sachen Kunga Nyingpo, Sonam Tsemo, Dragpa Gyaltsen, Sakya Pandita, Chogyal Pagpa, etc.

At the bottom left is a donor figure with attendants. At the bottom right are the principal protectors of the Sakya Tradition, Panjara Mahakala, Brahmarupa Mahakala and Shri Devi.

Back of Painting:
Mantra (Skt.): a series of sounds believed to embody the nature of a deity. The three doors of action are the body, voice and mind. It is through the actions of these three that good actions and bad actions are believed to be produced. Mantra recitation forms part of the daily practice of Tantric Buddhists. The most well know mantra is that of the deity Avalokiteshvara and his mantra om mani padme hum, an epithet of the deity meaning jewelled lotus. Written mantra are commonly found on the reverse of a painting placed there as a record of the painting having had a brief or lengthy sanctification blessing or ritual (Tib.: rabne). This painting of Hevajra has elaborated circles of mantra written on the back.

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