亨廷顿存档 - 藏传佛教艺术在线展览

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89 Five Mandalas of the Vajravali
Ngor Monastery. Tsang District, Tibet
Ca. 1570 to 1575
Opaque water-based pigments on cotton
H: 25 1/2 in. (54.9 cm) W: 22 3/4 in. (48.6 cm)
Virginia Museum of Fine Arts, Richmond. Gift of Paul Mellon, The Nasli and Alice Heeramaneck Collection, 68.8.120



Following a similar elaboration of the forty-five-mandala Vajravali teaching based on the Sakya tradition, this painting is from another set of Vajravali paintings commissioned at Ngor Monastery.
At the top of this painting is an inscription that states that this set of mandalas was offered to the 11th Abbot of the Ngor Monastery from the 13th Abbot of the Ngor Monastery. The group of mandalas depicted represents the five mandalas of the Yogini class of the Highest Yoga Tantras; a complex set of images used to explain the complex meditations of this Tantric practice.

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90 Five Mandalas of the Vajravali
Eastern Tibet
Ca. late 15th to early 16th century
Opaque watercolor on cotton cloth
H: 21 5/8 in. (54.9 cm) W: 19 1/8 in. (48.6 cm)
Collection R.R.E


Yet another example of the Vajravali mandala set, this beautiful painting exemplifies a unique grouping of mandalas based not on the textual sequence, but rather on a deliberately chosen set to emphasize a particular methodology. Here, the five major mandalas are related to the Chakrasamvara cycle, with Samvara-Vajrasattva mandala in the top left, 58-Deity Yogambara mandala in the top right, 13-Deity Jnanadakini mandala at the center, 25-Deity Buddhakapala mandala in the lower left, and 37-Deity Vajravarahi mandala in the lower right.

Stylistically, this represents the mature Balri "Newar-derived" school of Tibetan painting, popularly patronized by the Sakya Ngor sect. By the 16th century, this style was often not produced by Newar artists, but rather by Tibetan artists trained in the Newar style. For example, the tremendous richness of ornamentation and the fine precision of details in the 15th-century example (Cat. 88) painted by Newar artists have now given way to a slightly static, two-valued monochrome with black outlining. The overall effect in the latter is much less rich, although the striking black outline in the 16th-century painting gives a high contrast, and therefore an easier visual read. This suggests that the Tibetan artist creating his own interpretation of Newar Balri school, as practiced by Newars.

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105 Bone Girdle of Vajravarahi
Nepal
Various dates ca. 17th to early 20th centuries
Carved bone, crystal and gzi beads strung on cotton string
H: 24 in. (61 cm) W: 40 in. (101.6 cm)
Field Museum, Chicago (151844)


In Tantric meditation, practitioners visualize themselves wearing bone ornaments of their own bones, a symbol of their renunciation of the physical world. To emphasize this aspect of the meditation, ornaments are made from human bones collected at cremation grounds. There are six types of ornaments: a neckpiece, earrings, bracelets and anklets, a sash, girdle, and a vajra-tipped wheel for the crown of the head. The wearing of these ornaments helps the practitioner to realize him or herself as Chakrasamvara and Vajravarahi in complex Tantric meditations.

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115 Varuni

115 Varuni
Tibet
Ca. 18th century
Opaque watercolor on cotton cloth
H: 20 in. (46.5 cm) W: 13 in. (33 cm)
Museum der Kulturen – Basel, Switzerland, IId 13731

This eighteen-armed goddess is a rare representation of Varuni, the "Goddess of Alcohol." As a secret form of Vajravarahi, she symbolizes the purifying nectar of immortality (amrita) contained in the skullcup that practitioners drink to experience the bliss of the nondual union of Chakrasamvara and Vajravarahi. Her role in the Newar Buddhism is very important, since it is through her power that alcohol is transformed into the transcendent knowledge of immortality. Alcohol is central to Tantric Buddhist rituals, and spirituous liquor is equated with Vajravarahi, the agent of transcendent wisdom. By drinking this substance, the practitioner is prepared to begin the meditations of Vajravarahi. Emerging from the skullcup, Varuni also symbolizes the sky element and the unending ocean.

Varuni is surrounded by the six Armor Goddesses, who are placed in the energy centers of the yogin’s subtle body as protective shields to proceed with the completion-stage practices, in which Vajravarahi’s purifying fire awakens the inner chakras. These goddesses are imagined as surrounding the Vajravarahi, who is at the center of the double-triangle.

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122 Thirteen-Deity Jnanadakini Mandala
Newar Artists at Densatil Monastery, Ü District, Central Tibet
Between 1417 and 1447
Distemper on cloth
H: 33 1/4 in. (84.5 cm) W: 28 7/8 in. (73.3 cm)
Lent by The Metropolitan Museum of Art, Purchase, Lita Annenberg Hazen Charitable Trust Gift, 1987 (1987.16)


Jnanadakini is another emanation of Vajravarahi, and performs many of the same roles. The mandala represents the culmination of the meditative practice, in which the preeminent goddesses, such as Jnanadakini and Vajravarahi symbolize the inner heat the practitioner, ignites to purify both internal and external negativities. At the center of the painting is blue Jnanadakini, seated on a lion throne, signifying her Buddhahood, and holds attributes intended to purify and cut away attachments. She is surrounded by Dakinis of the eight directions and numerous other female deities representing the circles Body, Speech, and Mind.

At the top register are the lineage teachers. In the center is the same master as found in the Buddhakapala mandala (No. 86)—Sonam Gyaltsan (1386–1434) who was abbot of Densatil from 1417 to 1434. The superb quality of the Newar artists Balri style of painting is evident in the microscopic detailing, the incredible regularity and delicate articulations of the vinescroll motifs.

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123 Sahaja-Reversed Green Tara
Tibet, Tsang River Valley
Ca. 14th or early 15th century
Opaque watercolor and fine gold line on cotton cloth
H: 14 1/2 in. (36.8 cm) W: 11 1/2 in. (29.2 cm)
Shelley and Donald Rubin Collection

In the practices of the Highest Yoga Tantras, the concept of “reversed innate birth” symbolizes the nondual state of enlightened beings, in which the positions of the male and the female respective to the viewer and respective to the direction that they face in the mandala is reversed. This rare painting is an example of this concept, as Green Tara/Vajravilasini is facing the viewer, atypical of most images, but emphasizing the understanding that the two deities are completely equally in their nonduality. Vajravilasini “Adamantine Amorous Playfulness,” is a manifestation of Vajravarahi, and is visualized in the “sahaja-reversed” position, with Vajravarahi as the principal figure, embraced by Chakrasamvara. Her most important aspect is her compassionate nature, hence her dual identification with Green Tara, the great protectoress and remover of the Eight Great Perils.

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124 Ekajata Attribute Mandala
Tibet
Ca. 1800
Opaque watercolor on cloth
H: 24 in. (61 cm) W: 18 in. (46 cm)
Zimmerman Family Collection

Ekajata is a powerful wrathful goddess, and is identified as the guardian of secret mantras and the Dharma Protector. Her mantras have the power to provide good fortune, remove obstacles, and attain enlightenment. Ekajata’s name refers to her single braid of hair that she has, and she is also identified by her single eye, tooth, and breast, all of which reference her nondual nature.

In this unique painting, Ekajata is symbolized primary attributes, a trident and a flayed human heart, emerging from the “suffocating black wind” and smoke. The mandala palace is arrayed within the bloody flayed skin of a human male, whose body conforms to the shape of the upturned triangle. This mandalic form is known as a pledge mandala, wherein the attributes of a deity are represented instead of the anthropomorphic image.

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126 Vasundhara Mandala
Nepal
Inscribed and dated 1495
Opaque watercolor on cotton
H: 43 1/2 in. (110 cm) W: 33 1/8 in. (84.2 cm)
Los Angeles County Museum of Art, from the Nasli and Alice Heeramaneck Collection, Museum Associates Purchase (M.77.19.7)

Elaborate and exquisitely painted mandalas dedicated to Vasundhara, the Buddhist goddess of wealth and abundance, are a significant theme in the Newar Buddhist artistic tradition. It is common practice among the lay community to offer mandalas of the goddess to commemorate her annual celebration, which falls on a harvest full moon during the lunar month of Bhadra (October-November). This painting is one of the most fully developed mandala of Vasundhara.

The goddess, gold in color, is in the center of the mandala, surrounded by wealth deities in two concentric circles. Directly above Vasundhara, in the top center, is Ratnasambhava, the generative source of this system and establishing that she is the female aspect of this Jina Buddha. The outer square of the mandala presents a detailed narrative of the Suchandra Avadana, a didactic story in praise of the worship of Vasundhara that is generally recited to the laity at the culmination of her festival.

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134 Jinas from the Guhyasamaja Mandala and Vajrasattva, Three Folios of Ashtasahashrika Prajnaparamita Manuscripts
Eastern Bihar, India, or Western Bangladesh
Ca. 1160 to 1180
Opaque watercolor on palm leaf
H: 2 1/3 in. (6.4 cm) W: 17 1/2 in. (44.5 cm)
Art Institute of Chicago, Kate S. Buckingham Endowment (1995.241)

These paintings are from Ashtasahashrika Prajnaparamita manuscripts and represent the Jina Buddhas Amitabha and Amoghasiddhi from the Guhyasamaja Mandala and Vajrasattva. They are very significant examples of Indic versions of the Tantric deities, most of whom are known only paintings such as these. It is extremely important to note that, although the styles change, the iconographic formulation of objects held and mudras displayed has not changed from these twelfth century images to more recent paintings seen in the following objects.
The Ashtasahashrika Prajnaparamita, a profoundly philosophical text, has a very special place in Buddhism. They the fundamental teachings of the Mahayana tradition and, are actually offerings and objects of worship. The deities portrayed in them or the life of the Buddha depicted in them are not part of the text but are actually a separate offering included with the manuscript. Many such manuscripts are still in worship to the present day.

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135 Guhyasamaja and His Retinue
Central Tibet
Ca. early 15th century
Opaque watercolor on cloth
H: 41 in. (104.1 cm) W: 36 in. (91.4 cm)
Collection R.R.E.

The imagery and iconography of the Guhyasamaja Mandala is depicted in this non-circular format. Many early representations of mandalas are in this format, reminding the practitioner of the specific deities but leaving the “constructions of the mandala” to the Yogin’s mental process. The central figure is Guhyasamaja, “Secret Assembly,” and his is depicted with his female aspect, Sparsha Vajri, “Adamantine Touch.” Guhyasamaja is an esoteric form of the Jina Buddha Akshobhya, and he is surrounded by the other Jina Buddhas and their female aspects. The Eight Great Bodhisattvas are in attendance, as are ten fierce protector deities. The bottom register depicts the thirteen world-protector deities, dikpalas, who were originally part of the Hindu pantheon but were later incorporated into Buddhist thought.

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136 Thirty-two Deity Guhyasamaja Mandala
Central Tibet
Ca. late 14th to 15th century
Ground mineral pigment and fine gold line on cotton
H: 20 5/8 in. (52.4 cm) W: 17 3/8 in. (44.1 cm)
Navin Kumar, New York

The dark-blue Guhyasamaja, an esoteric form of Akshobhya and his female aspect Sparshavajri are depicted in non-duel union in the center of this mandala. They are surrounded by the four sense goddesses, of which Sparshavajri is the fifth. The Bodhisattvas, Guardian deities, and the other surrounding figures are rendered within an elaborate palace, entered through four large gateways. In this painting the mandala palace, is not left to the imagination of the practitioner but rendered in full detail as it is to be envisioned. A lineage of teachers is across the top, other forms of Guhyasamaja are in the four corners and the directional guardians and four more teachers are across the bottom.