唐卡图集(三)

肃火斤

附件130.

Sarvavid, Mahavairochana (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.

Tibet

1800 - 1899

Uncertain Lineage

54.61x39.37cm (21.50x15.50in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

肃火斤

附件131.

Hayagriva, Heruka (Tibetan: tam drin, drag tung. English: Horse Neck): from the Eight Sadhana Sections of Mahayoga Tantra of the Nyingma School.

Mongolia

1800 - 1899

Nyingma and Gelug Lineages

49.53x76.84cm (19.50x30.25in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

肃火斤

附件132.

Karmapa Guruyoga: the central image of a generic Karmapa holds a vajra and bell crossed at the heart, wearing the black vajra hat and surrounded by eight dancing dakinis enveloped in a sphere of rainbow light. At the top is the lama Sanggye Nyenpa and at the bottom, Wangchug Dorje, the 9th Karmapa.

This painting is based on a guruyoga meditation text written by the 8th Karmapa, Mikyo Dorje.

Eastern Tibet

1700 - 1799

Karma (Kagyu) Lineage

48.90x33.02cm (19.25x13in)

Ground Mineral Pigment on Cotton

Karma Gardri Painting School

Collection of Rubin Museum of Art

肃火斤

附件133.
Eastern Tibet

1700 - 1799

Karma (Kagyu) and Buddhist Lineages

52.07x37.47cm (20.50x14.75in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

Kalachakra, Sahaja Heruka (Tibetan: du kyi kor lo, lhan chig drag tung. English: the Wheel of Time, Blood-drinker) with Vajrasattva at the top center accompanied by four teachers and two further figures at the bottom. The painting appears to follow the Palpung Monastery style of painting and can be dated, based on the last two figures at the bottom of the composition, to sometime between 1770 and 1798.

肃火斤

附件134.

Arapachana Manjushri, Orange (Tibetan: a ra pa cha na jam pal yang, mar ser. English: Orange Arapachana the Splendid Melodious Voiced One). The bodhisattva that represents the wisdom of all the buddhas of the ten directions and three times.

Tibet

1800 - 1899

Karma (Kagyu) Lineage

41.28x31.12cm (16.25x12.25in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

肃火斤

附件135.

Vajrabhairava (Tibetan: dor je jig je. English: the Vajra Terror): embraced by the consort Vajra Vetali, and surrounded by retinue figures. At the top center is the peaceful bodhisattva Manjushri.

Tibet

1800 - 1899

Gelug Lineage

81.28x59.69cm (32x23.50in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

肃火斤

附件136.

Western Tibet

1400 - 1499

Uncertain Lineage

48.26x43.82cm (19x17.25in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

肃火斤

附件137.

肃火斤

附件137的附文:

Bernagchen Mahakala with Vajravarahi directly above with a Black Hat Lama seated on the left and a Red Hat Lama on the right.

Tibet

1800 - 1899

Karma (Kagyu) and Buddhist Lineages

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

肃火斤

附件138.

肃火斤

附件139.

Tibet

1600 - 1699

Sakya and Ngor (Sakya) Lineages

36.83x29.21cm (14.50x11.50in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art


Shri Hevajra Nine Deity Manadala (Tibetan: pal gye pa dor je lha gu'i khyil kor): according to the lineage of Kanha.

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, dark blue in colour, with eight faces and sixteen hands holding skullcups, standing with four legs in a dancing posture. The first pair of hands embrace the consort Vajra Nairatmya (Selfless One), 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 within the flames of pristine awareness.

Surrounding the two central figures are eight goddesses of various colours, each with one face and two hands, standing in a dancing posture on the left leg above a corpse seat. Beginning at the top and placed in a clockwise direction is yellow Vetali, multi-coloured Dombini, green Ghasmari, blue Pukkasi, black Gauri, white Shavari, red Cauri, and purple Candali. They are adorned with various ornaments and each hold 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 (barely discernable), on each side of the four doors ('T' shaped), are two dancing offering goddesses, sixteen in total. The outer red 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 tiered steps topped with a Dharma wheel, two reclining deer, and gold spires with a silk canopy above.

Surrounding the palace is a circle of multi-coloured (rectangular) petals representing the enormous lotus upon which the entire palace structure rests. The outer circle, divided into eight sections, containing small figures and objects is the ring of the eight great charnel grounds filled with corpses, fires, caityas, yogis, nagas, and wrathful worldly deities. The final ring is composed of the multi-coloured fires of primordial wisdom completely enveloping the entire Hevajra Mandala. Along the top are the lineage gurus for this particular mandala of Shri Hevajra.

Shri Hevajra is a tutelary deity of the Anuttarayoga Non-dual classification.

肃火斤

附件140.

Eastern Tibet

1800 - 1899

Nyingma and Karma (Kagyu) Lineages

63.50x48.26cm (25x19in)

Ground: Cotton

Karma Gardri Painting School

Collection of Rubin Museum of Art

Red Jambhala (Tibetan: dzam bha la mar po. Sanskrit: Rakta Jambhala): a powerful wealth deity from the 'Terma' (Treasure Teachings) of Trapa Ngonshe.

"...Red Jambhala with three faces, six hands and four legs. The body is red in colour, like ruby, and blazing with light. Beautiful and desirous in appearance, slightly fierce and smiling. The main face is red - laughing, the right white and left blue. The first pair of hands hold a precious gem and a jewel filled skullcup. The middle two a hook and lasso. The lowest two each [hold] a mongoose spewing various jewels. The two right legs are bent and the two left slightly straight; pressing on the male and female lords of wealth. Adorned with the eight great snakes and various jewels and a garland of flowers and fluttering ribbons." (Terdag Lingpa Gyurme Dorje (1646-1714) and Min-ling Lochen Dharmashri 1654-1718. Tibetan source text 'dod 'jo bum bzang pp. 353-354).

With three faces, six hands and four legs the right face is white, left dark blue, each with three eyes. The three right hands hold a hook, jewel and a jewel spitting mongoose. The left hold a skullcup filled with jewels, lasso and a mongoose. Leaning to the right side, his four feet press down on two wealth yakshas (daemons of classical Indian mythology). In a slightly peaceful and slightly wrathful demeanor, plump and happy, adorned with opulent jewel ornaments, silk scarves and a long snake necklace he stands above a sun disc and lotus seat, surrounded by an orange and rainbow nimbus.

This form of Red Jambhala belongs to the Nyingmapa 'Terma' - Revealed Treasure Tradition and was discovered as an 'Earth Treasure' by Trapa Ngonshe Wangchug Bar (1012-1090). Written on yellow parchment paper, it was extracted from above the door of the central shrine at Samye Chokor Ling. This famous 'terton' (treasure finder) is also responsible for uncovering the 'Four Medical Tantras.'

肃火斤

附件141.

Atisha (Tibetan: jowo je atisha): surrounded by mahasiddha. From a set of three paintings. [TBRC P3379].

Tibet

1700 - 1799

Gelug Lineage

71.12x45.72cm (28x18in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

肃火斤

附件142.

Nagarjuna, Arya (Tibetan: pag pa lhu drup. Bibliographic details): founder of the philosophical system known as Madhyamaka, the Middle Way School. His exact dates are not known but it is generally believed he lived around the time of the 1st and 2nd centuries C.E. The Problem of the Historical Nagarjuna Revisited by Ian Mabbett. The Journal of the American Oriental Society, Vol.118 No.3 (July 1998).

Tibet

1700 - 1799

Gelug Lineage

71.12x45.72cm (28x18in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

肃火斤

附件143.

Tibet

1700 - 1799

Uncertain Lineage

Ground Mineral Pigment on Cotton

Collection of Shelley & Donald Rubin

Ushnishavijaya (Tibetan: tsug tor nam par gyal ma. English: Victorious Crown Ornament): goddess of long-life, white in colour, with three faces and eight hands, seated inside an architectural structure called a stupa, or chaitya

"Ushnishavijaya, the colour of an autumn moon, with three faces, white, yellow and blue and eight hands. Each face has three very large eyes. The first right hand holds a vishvavajra, second a white lotus with Amitabha [Buddha] residing, third an arrow and the fourth in [the gesture of] supreme generosity. The first left holds a vajra lasso, second a bow, third [in the gesture of] bestowing protection and fourth in [the gesture of] meditative equipoise holding an auspicious nectar vase; complete with silks and jewel ornaments, seated in [vajra] posture.

Within the outer circle of the stupa, on the right [side of the chaitya], above a moon is Avalokiteshvara with a body white in colour, the left hand holds a lotus. On the left [of the chaitya], above a sun is Vajrapani, blue, the left hand holds an utpala with a vajra; standing in a peaceful manner and adorned with silks and jewels." (Jamyang Kyentse Wangpo, 1820-1892).

This painting was commissioned by a grieving family to commemorate the death of a relative. The deceased is included in the composition and pictured at the bottom center wearing white clothes and kneeling on a white lotus blossom. Five religious teachers from the 18th century, each from different traditions of Tibetan Buddhism, are also depicted. The presence of these teachers adds additional blessing and good wishes for the departed family member.