唐卡图集(五)

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Tibet

1800 - 1899

Sakya and Buddhist Lineage

Collection of Shechen Archives - photographs

Guhyasamaja, Manjuvajra (Tibetan: sang wa du pa, jam pai dor je. English: Melodious Vajra, Secret Assembly). Bibliographic reference: Shri Vajra Hridaya Lamkara Tantra-nama, Toh 451 and No.44 in the Gyu de Kuntu set of mandalas.

"...Manjuvajra, with a body the colour of purified gold, three faces and six hands. The main face is yellow, the right blue and the left white. The first two hands embrace the Mother. The lower right hands hold a sword and arrow, and the lower left an utpala [flower] and bow; wearing jewel ornaments and having the thirty-two major and eighty minor marks; seated with the legs in the vajra posture. In the lap is the Mother Manjuvajra with three faces and six hands, with the colour, hand objects and embrace, the same as that of the Father. Both are resting in a state of union and emanating forth rays of light." (Written by Jamyang Khyentse Wangchug, 1524-1568 reference).

At the top center is an Indian scholar wearing the attire of a monk, a pandita hat, and holding a book. At the left side is Sakya Pandita Kunga Gyaltsen Pal Zangpo, with the hands in the Dharma teaching gesture, and on the right side of the composition is likely to be Chogyal Pagpa.

At the bottom left side is a standing, dancing, figure of Brahmarupa Mahakala, light blue in colour with long hair and a beard. On the right side is the seated figure of Vaishravana Riding a Lion, dressed as a king and holding a victory banner parasol.

Lineage of Teachers: Manjuvajra, Buddha Jnanapada, Shri Deva, Vimala Gupta, the two Rinchens, Risul Yogini, Nyen Lotsawa Chogyan, the Five Masters, Dampa Kunga Drag, Tashi Pal, Kunga Sonam Shap, Do Pal Kirti Shri Khanpa, Sazang Kupon, Ngorchen, Muchen, Gyaltsap Kunkhyen Je, Ratnavardha, Konchog Lhundrub, Sanggye Sengge, Namka Pal Zangpo, Chog Leg Khupon, Sempa Chenpo Kyenrab Tendzin Zang, Drowa Sempa Chenpo Kyenrab Tendzin Zang, Drowai Lama Kyenrab Champai Pal, etc.

肃火斤

附件219.

Akshobhyavajra Guhyasamaja Mandala. A set of forty-two mandalas, as described in the Vajravali Sanskrit text of Abhayakaragupta, commissioned in honour of Lama Dampa Sonam Gyaltsen.


Tibet

1300 - 1399

Buddhist Lineage

Ground Mineral Pigment on Cotton

Collection of Private

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附件220.

Mongolia

1800 - 1899

Buddhist Lineage

Ground Mineral Pigment on Cotton

Collection of Zanabazar Museum of Fine Arts

肃火斤

附件221.

Mongolia,Collection of Rainy Jin & Johnny Bai.

肃火斤

附件222.

Tibet

1900 - 1959

Gelug Lineage

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

Maitreya and Manjushri, Bodhisattva (T. jang chub sem pa. E. Heroic Aspirant to Enlightenment). Maitreya, meaning loving kindness, and Manjushri (Manjughosha), melodious voice, are included among the eight special 'heart-sons' transcendent students of the Buddha Shakyamuni according to Northern Buddhism (Mahayana).

Maitreya, on the left, is recognizable by his seated posture with the legs extended over the front of the throne. He holds two lotus blossoms that support a golden wheel on his right and a water flask on the left. These three characteristics, seated posture, wheel and flask, are unique to the artistic and iconographic appearance specific for Maitreya.

Manjushri holds the stem of a single lotus that supports an upright sword above a folio book. The sword and book are the unique characteristics associated with Manjushri.

In this painting both figures sit together as if in conversation on a green lawn in front of a large ornate palace structure. The well-known bodhisattva white Avalokiteshvara and blue Vajrapani are seated directly below but in much smaller scale, surrounded by other attendant bodhisattvas. In the sky above, gods standing upon billowing clouds hold victory banners and celebratory parasols while figures below soar through the sky with garlands of flowers or large single blossoms.

The setting for the painting is the Tushita Heaven, Joyful Land, the abode of Maitreya, above Mount Sumeru, the center of a Buddhist world system, of which there are many, as he waits for the time when he will descend to earth and be the next Buddha after the time of Buddha Shakyamuni has passed.

An inscription below Maitreya gives the name of the heaven. Another inscription to the right side of Manjushri refers to the occasion of the meeting of Maitreya and Manjushri in this depiction.

肃火斤

附件223.

Tibet

1700 - 1799

Sakya and Ngor (Sakya) Lineages

66.68x49.53cm (26.25x19.50in)

Ground Mineral Pigment on Cotton

Collection of Rubin Museum of Art

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附件224.

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

Eastern Tibet

1800 - 1899

Karma (Kagyu) and Kagyu Lineages

Ground Mineral Pigment on Cotton

Karma Gardri Painting School

Collection of Rubin Museum of Art

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Tibet, Collection of Rubin Museum of Art.

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