唐卡图集(续集)

肃火斤

附件430.

Sanggye Nyenpa and Mikyo Dorje, 8th Karmapa (1507-1554), seated at the right and wearing the black hat. A lineage teacher sits at the left side. Seated between the two is a very small image of Wangchug Dorje, the 9th Karmapa (1555-1603). The lineage teachers portrayed in the lower half of the painting belong to the Oral Instruction Lineage of the Five Stages.

Tibet

1500 - 1599

Karma (Kagyu) Lineage

85.09x60.96cm (33.50x24in)

Ground Mineral Pigment, Fine Gold Line on Cotton

Collection of Rubin Museum of Art

肃火斤

附件431.

Lord Gampopa (1079-1153) and his student Dusum Khyenpa, the 1st Karmapa (1110-1193): with a portion of the Thousand Buddhas of this Aeon above and the teaching lineages of Asanga and Nagarjuna at the bottom.

肃火斤

附件432.

Marpa Chokyi Lodro, the Translator (1012-1096): the founder of the Kagyu School of Tibetan Buddhism. At the right is Milarepa Gyepa Dorje (1052-1135) the most famous student of Marpa and greatest poet yogi of Tibet.

肃火斤

附件433.

肃火斤

(附件433图,已在附件428发过,笔者致歉.)

补发附件433图:

肃火斤

附件434.

肃火斤

附件435.

肃火斤

附件436.

肃火斤

附件437.

肃火斤

附件438.

肃火斤

附件439.

Guhyasamaja (Secret Assembly) Akshobhyavajra Mandala with thirty-two deities; the main subject has three faces and six hands; blue-black in colour; peaceful with a slightly fierce expression; seated in vajra posture.

Guhyasamaja has two main traditions, the Arya (Nagarjuna) Lineage and the Jnana (Jnanapada) Lineage. The subject of this painting is the Arya Lineage. Of the three types of Anuttarayoga Tantra this is the chief of the 'Method' (Father) class.

Tibet

1300 - 1399

Sakya Lineage

35.56x34.61cm (14x13.63in)

Ground Mineral Pigment, Fine Gold Line on Cotton

Collection of Rubin Museum of Art

肃火斤

附件440.

Shri Devi Magzor Gyalmo.

Mongolia

1800 - 1899

Gelug and Buddhist Lineages

46.99x34.93cm (18.50x13.75in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

肃火斤

附件441.

Central Tibet

1500 - 1599

Gelug Lineage

69.85x55.88cm (27.50x22in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

Maitreya, Bodhisattva (Tibetan: cham pa, English: the One of Love), currently residing in the Tushita heaven, the next Buddha to appear in the world, surrounded by the 35 Buddhas of the Sutra of Confession.

Peaceful in appearance, slightly yellow in colour, the two hands are placed at the heart performing the mudra (gesture) of Dharma Teaching while holding the stems of two red utpala flowers supporting a caitya (reliquary structure) on the right and a water flask on the left. Adorned with a gold and jewel crown, the black hair - some falling loose - piled on the top of the head is adorned with jewels. Further gold and jewel earrings, necklaces, bracelets, a waist belt, anklets and silks of every colour, across the shoulders and as a lower garment, adorn the body. He sits upright atop a red lotus seat and white snow lion supported throne with the legs extended in front resting on a lotus stand. A green areola with red trim frames the head and an elaborate backrest, rich fabrics and lush foliage surround the throne. Incense burners of gold and blue flower vases are arranged in front.

Directly above is Shakyamuni buddha performing the mudra of teaching, flanked by standing attendant monks. Along the top and sides are the Thirty-five Buddhas of Confession as found in the sutra of the same name. They all have the essential characteristics of a buddha but vary as to colour, mudras and hand objects. Seated at the left, along side the throne is the Indian pandita Lord Atisha, wearing the orange garb of a monk and an orange pandita hat, performing the teaching mudra with the two hands at the heart, seated in vajra posture. At the right side is Lord Tsongkapa, wearing the same attire and a bright yellow pandita hat, performing the teaching mudra. (The names of the 35 Buddhas and the 2 lamas are written in gold lettering beneath or to the side of each).

At the bottom center is the worldly guardian and wealth deity Vaishravana, richly attired in the outfit of a warrior, holding a victory banner in the right hand and a mongoose in the left, astride a white snow lion. Accompanied by the four Guardian Kings, at the left are Dhritarashtra, for the east, holding a stringed instrument and Virudhaka, south, holding a sword. At the right are red Virupaksha, west, holding a caitya upraised in the right hand and green Vaishravana, north, holding a banner and mongoose. They all wear various layers of clothing and armour, surrounded by brown smoke and orange flames.

肃火斤

附件442.

Akshobhyavajra, Guhyasamaja (Tibetan: mi kyo dor je, sang wa du pa. English: the Unshakeable Scepter, Secret Assembly): depicted in the center of a mandala, the principal deity of the Father (Method) classification of Anuttarayoga Tantra of Tantric Buddhism.

Peaceful in appearance, with a stern expression, blue in colour, he has three faces and six hands, embracing the consort. Lineage teachers are seated along the top and descend at the sides.

Guhyasamaja has two main traditions, the Arya (Nagarjuna) Lineage and the Jnana (Jnanapada) Lineage. The subject of this painting is the Arya Lineage. Of the three types of Anuttarayoga Tantra this is the chief of the 'Method' (Father) class.

Tibet

1600 - 1699

Gelug Lineage

67.31x59.06cm (26.50x23.25in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

肃火斤

附件443.

Buddha Kapala, Heruka. The appearance and iconography of the deity is most similar to the deity Buddha Kapala in Heruka form, without a consort.

This deity at first appears to be a depiction of the Four Armed female deity Vajra Nairatmya from the Samputa Tantra. However, the number of deities in the retinue do not match the standard texts that describe the various mandalas of Nairatmya. The Samputa Tantra Nairatmya has one face and four hands but also has a retinue of twenty-three deities. Here the painting only has eight retinue figures. Also, the colours of the eight figures do not conform to known systems. The central figure matches in bodily appearance but does not match with the attributes held in the hands. It is possible that this mandala configuration comes out of another of the Hevajra Cycle of Tantras such as the Mahamudratilaka Tantra.

Tibet

1500 - 1599

Buddhist Lineage

28.58x26.67cm (11.25x10.50in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art