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- form a spherical concept, they are therefore repre�sented in a mandala form. In this thanka, thirty-four buddhas are grouped around the large central figure of Sakyamuni Buddha and all are seated on lotus thrones in the vajrasana pose, but their hands display different mudras. Sakyamuni, in the centre of the mandala, holds a beggar�s bowl and displaysthe gesture of �calling the earth to witness.� He is flanked by his disciples Gyaltshab and Khabub depicted in a mirror-like aspect. Below the mandala is Manjusri flanked by the Green and White Taras. The cult of the Thirty-five Buddhas of the Confession is also known in China and Japan. Tsong Khapa, himself, wrote a treatise about them, giving a detailed description of each of the Buddhas.
3 Myriad Buddhas
19th century
gouache on cotton, 62 x 44.2 cm Gift of Mrs. W. W. Ritchie AGGV 65.70
One hundred identical Buddhas surround a large central Buddha, which can be identified as Aksho- bhya, one of the Transcendental Buddhas of the group known as the Five Dhyani-Buddhas, by the hand gestures and attributes. The right hand of each Buddha is stretched downwards in the gesture of touching the earth and the left hand holds a thunder�bolt. The number 101 is symbolic of infinity, and the multitude of figures symbolize the pervasive nature of the transcendental Buddha. All figures are painted in gold and have an aureole and nimbus of different colours. The large Buddha is represented against two aureoles, which are surrounded by stylized lotus flowers.
4 Paradise (Sukhavati) of Amitabha
a) 18th/19th century
gouache on cotton, 74 x 51 cm
Private Collection
b) 19th century
gouache on cotton, 59 x 40.5 cm
Gift of Miss Eleanor Kunderman
VM 1988.11.144
c) 19th century
gouache on cotton, 44.6 x 32.8 cm
Gift of Mrs. H. R. Gale
AGGV 58.47
Amitabha, the Buddha of Boundless Life and one of the Dhyani-Buddhas, isthe subject of these thankas, which depict him presiding over the Western Paradise represented by a strictly formal and sym�metrical garden with receding terraces and palace structures. Both his hands rest in his lap with palms upwards in the gesture of meditation holding an alms bowl. The peacocks on or near the dais arethe symbol of Amitabha. The paradise representations are based on the descriptions of the Western Paradise as found intheSukhavativyuha. It is said to contain beautiful palaces and airy pavilions, and there are pools with lotus flowers and bejewelled trees. The celestial inhabitants includetheapsarases
(divine courtesans) depicted in the air of thanka (a). The variety of ways to depict one particular theme within the iconographical limits, can be seen from these three examples.
In thankas (a) and (b), Amitabha is flanked by monks and bodhisattvas attentively listening to him. In the simplified version (c) he is depicted alone, with the bodhisattvas Avalokitesvara and Manjusri in the lower corners.
5 Sitatapatra
18th century
gouache on cotton, 63.9 x 43 cm Gift of Max Tanenbaum, Toronto, 1980 NGC 26843
The central deity of this thanka is Sitatapatra (the Reverend One of the White Umbrella), which is one of the titles of Avalokitesvara. In this form, he has 1000 arms and five rows of heads on each side of the central head. The main attribute is the White Umbrella. Below are three identical forms of Mahakala, the Protector of Religion, in a long robe, wearing a skull crown and holding the command staff. The threefold figures are rare manifestations of Mahakala called Gonpo Legdan and in thisform they are the triple manifestation of virtue. At the top is Gautama Buddha flanked by the Green and White Taras.
6 White Tara
18th century
gouache on cotton, 38.2 x 23.5 cm Bequest of Mrs. H. R. Gale AGGV 58.45
The White Tara is the Buddhist patroness of Tibet. The Chinese queen of the seventh-century Tibetan king, Songtsen Gampo, is considered an incarnation of her. According to tradition, Tara sprang from the right eye of Avalokitesvara in the form of a tear. She has seven eyes (three on her face and one on each of her palms and soles). The eyes, which symbolize the vigilance of her compassion, enable her to see and save all beings from misery. Her right hand makes the gesture of charity (vara mudra) and in her left hand she holds the stem of a white lotus. At the bottom left corner is Aksobhya Buddha (the Unshakable) and to the right is Vajrasattva holding a vajra and a bell.
7 Vajrapani
a) 19th century
gouache on cotton, 47.5 x 33 cm Rosina Izzard and Robert Usatch of Carnaby Street Boutique
b) 19th century
gouache on cotton, 8.6 x 6.5 cm Gift of J. P. E. Klaverwyden
AGGV 76.164
Vajrapani, the Thunderbolt Bearer is the protector of the Mahayana teachings and occupies an important position in Vajrayana Buddhism. The thankas illus�trated here show a wrathful manifestation of him
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