亨廷顿存档 - 藏传佛教艺术在线展览

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143 Hevajra Mandala
Central Tibet
Ca. 15th century, Sakya school
Opaque mineral pigment on cotton
H: 29 in. (73.6 cm) W: 26 1/6 in. (66.2 cm)
Los Angeles County Museum of Art, from the Nasli and Alice Heeramaneck Collection, Museum Associates Purchase (M.77.19.6)

The Inscription reads:
This [vision] which proceeds from the vows of the All Knowing Jamyang and the cycle of the Tantras of Samvara, Hevajra, Kalachakra, Vajrabhairav,a and Vajrapani was produced as an inner visual support for the teacher himself [Jamyang] by the monk Gyal Tshan. The head of the craftsmen was Gyalpo Palseng by means of seeing this [painting] when the teacher attains complete fulfillment, may all beings attain enlightenment.

This beautiful and complex thangka exemplifies the tradition of using visual tools to help a practitioner perfect the intricacies of a particular meditation. It contains nothing less that the full Vajravali cycle and is the vehicle through which the master Jamyang became enlightened. Although the painting contains all of the deities of the Vajravali, however, it focuses in particular, on the Hevajra-cycle meditations

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144 Kapaladharin Hevajra and Nairatma with Retinue of Nine Dakinis
China? 16th century?
Opaque watercolor on silk
H: 31 in. (78.7 cm) W: 22 1/2 in. (57.2 cm)
Musee Nationale des Arts Asiatique Guimet, Paris (MG 19105)

Kapaladharin (Skullcup-Bearing) Hevajra is depicted here in his wrathful, sixteen-armed form, embracing his female aspect, Nairatma. Kapaladharin’s sixteen arms represent the purification of the sixteen states of emptiness, or shunyata. The skullcups symbolize the process of purification, in which the contaminated substances of the skullcup are transformed into the pure essence of wisdom. The animals and figures in the cups are said to enhance the practitioner’s power to overcome ignorance.

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148 Kalachakra Mandala From a Vajravali Series.
Tibet Ca. 16th century
Opaque watercolor on cloth
H: 21 1/2 in. (54.6 cm) W: 19 1/2 in. (49.5 cm)
Collection R.R.E.

The almost unbelievable complexity of the Kalachakra system is nowhere more clearly represented that in this relatively small by very complete anthropomorphic painting of the Kalachakra mandala. There are three sets of walls to the diagram, understood as layer or stories of the mandala palace. The first layer is the body layer the second is the speech layer and the third and core is the mind layer. In the center is the great Bliss circle During the seven initiations that take place for the Kalachakra, both the outer mandala, as seen in the painting and the inter mandala as realized in the body are generated and completed.

The mandala appears unusual to even those to the accustomed to Buddhist visual symbolism. The normal color of the five Victor Buddhas has been altered as well as the locations of the principal Buddhas. Thus, in the east there is a black Amoghasiddhi whose female aspect is yellow Lochana; in the south there is red Ratnasambhava with white Mamaki, In the west is yellow Vairochana with black Tara; and in the north is white Amitabha with red Pandara. In the intermediate corners are the Buddha Pandara embraces a white Amitabha in the southwest, and so on. All are conceived as emanating from Vishvamata’s womb. It must be noted that such a digression is undoubtedly a deliberate attempt to “do it differently.”

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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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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.

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