| Transcript |
- seated on the same type of throne and his hands also display the gesture of preaching (dharmacakra mudra).
20 Portrait of a Nyingmapa Hierarch 17th/18th century gouache on cotton, 89.4 x 59.4 cm Gift of Max Tanenbaum, Toronto, 1980 NGC 26840
This high lama of the Nyingmapa (Red Hat) sect is depicted here displaying the gesture of preaching with his hands, which also hold the stems of two lotuses surmounted by a vajra and a bell. The fact that his attributes are the vajra and bell reveal that he is a high tantric teacher. The scenes around the central figure appear to show his life cycle.
21 Scenes from the Life of Tsong Khapa
a) 18th century
gouache on cotton, 67.8 x 44.6 cm Gift of Mrs. H. R. Gale AGGV 58.60.1
b) 18th century
gouache on cotton, 61.9 x 43.2 cm Gift of Max Tanenbaum, Toronto, 1980 NGC 26841
c) 19th century
gouache on cotton, 85.8 x 58 cm Private Collection
The central figure of these thankas is Tsong Khapa (1357-1419), the great spiritual reformer of Tibetan Buddhism, who founded the Yellow Hat or Gelukpa sect. Tsong Khapa was initiated into the Buddhist religion at a very young age. He proved so industrious that he soon outstripped his teachers in knowledge and travelled to the great monasteries to receive advanced training. He is supposed to have studied under 108 teachers, which is probably a symbolic number. As a result of his accumulated religious knowledge, he began to write important religious works which were accurate, concise and clear. His greatest strengths were his undeniable validity, the perfect example he set for others and his absolute reliance on the teachings of Buddha. The Yellow Hat sect, which he founded, was the most powerful sect in Tibet until modern times. His image is one of the most popular in Tibetan iconography. In thankas (a) and (c) he holds the vajra (thunderbolt) and the vajra-handled bell (ghanta) symbolizing wisdom. Two lotus flowers are at shoulder level, supporting the sword of discerning wisdom at the right and a book on the left. Tsong Khapa is regarded as an emanation of Manjusri, the bodhisattva of Wisdom, and is therefore, depicted with the same attributes. The scenes surrounding the central figure in these thankas primarily show his religious instructors. Thanka (c) is unusual in that the main figure is painted entirely in gold.
22 Kartrika Mandala late 19th/early 20th century gouache on cotton,
Rosina Izzard and Robert Usatch of Carnaby Street Boutique
This mandala is rather unusual in that instead of portraying various deities in the centre field, here only multiple representations of one symbol, the tantric ritual chopper known as kartrika are depicted. The kartrika is a weapon of the tantric protectors and is used in rituals by monks to cut the life roots of demons who create obstacles. The centre of the mandala is occupied by stylized lotus rosettes containing the symbol, which is repeated, forming eight radiating lines, within a circle. Outside the circle, the kartrika is depicted cutting into a prostrate figure. Inside the four gates of the surrounding square walls, the kartrika rests on lions. The mandala has three borders. On the outside are the eight cemeteries, symbol of the illusory world of Samsara, followed by a border of flames, designed to deny access to the mysteries to the uninitiated. The innermost border is of lotus petals, signifying the harmonious unfolding of spiritual vision. This type of mandala might also be called a Mahakala mandala.
23 Tara Mandalas early/mid-20th century gouache on cotton, 83.6 x 62.5 cm AGGV
The heart of each of these five mandalas is occupied by a different form of the deity, Tara, who is sur�rounded by supporting deities systematically arranged within a square building plan with gates at the four cardinal points of the compass. All lines converge and radiate from the central point. The numerous figures outside the mandalas include buddhas, bodhisattvas, gurus and a protector. The workmanship of these mandalas is quite refined.
24 Tree of the Divine Assembly
18th century
gouache on cotton, ink on paper Given in memory of Dr. James M. Menzies by his son, Arthur R. Menzies AGGV
This painting, which was divided at some time in the past and mounted on two handscrolls with text of the Long Life sutra and the Prajnaparamita sutra in Tibetan (one section is mounted upside down), is of a type known as �tree of the divine assembly� (tshogs-snin in Tibetan). It shows the founder of Buddhism, Sakyamuni, seated in the centre of the fruit-bearing tree. His large image is surrounded by a multitude of Buddhist divinities, mahasiddhas, im�portant monks and protectors. This painting, which is in extremely bad condition, is very similar to painting no. 145 illustrated in Asiatic Art in the Museum of Fine Arts, Boston, 1982, p. 155, which is dated 1796.
36
|
|---|
