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Lot Essay
In Himalayan Buddhism, the mandala is a two-dimensional representation of a three-dimensional space, such as the celestial palace where a specific deity resides. They are comprised of concentric circles and squares occupied by the main deity at center and figures from his or her retinue arranged in order of importance in the interstitial spaces. Sometimes they include a landscape, and additional lineage figures above and below, as in the present example. All of these details contribute to the rich visual iconongraphy which rewards multiple viewings; with each perusal, the devotee begins with the main figures and then delves deeper into the details, which guide his or her mediation on the specific tantra depicted.
The present thangka depicts the mandala of Hevajra, shown in embrace at center, surrounded by eight retinue goddesses. They all stand within a celestial palace divided by color into different sections, each with their own doorway. The palace rests on an enormous lotus, indicated by a ring of multicolored lotus petals. Just beyond this is a ring divided into eight representing the eight great charnel grounds. Here is where the viewer is really rewarded for their study; each charnel ground is filled with corpses, fires, animals and various deities commanded by a mahasiddha, or great teacher. The level of detail with which these scenes are rendered is astonishing, and no two are alike. Outside the mandala, against the dark background with flowers, are other forms of Hevajra depicted in the corners, each with two accompanying figures. This thangka also has a row of lineage gurus at the top, each identifiable, and a row of protector deities at the bottom. At the bottom right corner, seated with his hands in dharmachakramudra, is the donor of the painting, as yet unidentified.
Based on the rich iconography, style of painting and palette, this thangka has been dated to the 14th century. Together with lot 131 it was one of the two thangkas that Doris Wiener liked best, and which she kept on permanent display in her gallery.
Numbered Diagram
1. Eight Retinue Goddesses (clockwise from top center)
Yellow Vetali, Multicolored Dombini, Green Ghashmari, Blue Pukkhashi, Black Gauri, White Shavari, Red Chauri, Purple Chandali
2. Eight Great Charnel Grounds (clockwise from top center)
Adorned with a Blazing Garland, Resounding with the Cries Kili Kili, Dense Jungle, Fiercely Resounding, Gruesome Charnel Ground, Forest of the Lord, Frightful with Skulls, Dark and Terrible
3. Ratnasambhava Hevajra
4. Amitabha Hevajra
5. Amoghasiddhi Hevajra
6. Vairochana Hevajra
7. Lineage Teachers (from left to right)
Vajradhara, Nairatmya, Virupa, Kanhapa, Damarupa, Avadhutipa, Gayadhara, Drogmi Lotsawa, Seton Kunrig, Shangton Chobar, Sachen Kunga Nyingpo, Sonam Tsemo Dragpa Gyaltsen, Sakya Pandita, Chogyal Pagpa
8. Bottom register (from left to right)
Mohavajra (white), Dveshavajra (blue), Matsaryavajra (yellow), Ragavajra (red), Irshavajra (green), Nairatmya Yogini (black), Kayavajra (white), Vakvajra (red), Chittavajra (black), Panjarnata Mahakala, Shri Devi, donor figure
The present thangka depicts the mandala of Hevajra, shown in embrace at center, surrounded by eight retinue goddesses. They all stand within a celestial palace divided by color into different sections, each with their own doorway. The palace rests on an enormous lotus, indicated by a ring of multicolored lotus petals. Just beyond this is a ring divided into eight representing the eight great charnel grounds. Here is where the viewer is really rewarded for their study; each charnel ground is filled with corpses, fires, animals and various deities commanded by a mahasiddha, or great teacher. The level of detail with which these scenes are rendered is astonishing, and no two are alike. Outside the mandala, against the dark background with flowers, are other forms of Hevajra depicted in the corners, each with two accompanying figures. This thangka also has a row of lineage gurus at the top, each identifiable, and a row of protector deities at the bottom. At the bottom right corner, seated with his hands in dharmachakramudra, is the donor of the painting, as yet unidentified.
Based on the rich iconography, style of painting and palette, this thangka has been dated to the 14th century. Together with lot 131 it was one of the two thangkas that Doris Wiener liked best, and which she kept on permanent display in her gallery.
Numbered Diagram
1. Eight Retinue Goddesses (clockwise from top center)
Yellow Vetali, Multicolored Dombini, Green Ghashmari, Blue Pukkhashi, Black Gauri, White Shavari, Red Chauri, Purple Chandali
2. Eight Great Charnel Grounds (clockwise from top center)
Adorned with a Blazing Garland, Resounding with the Cries Kili Kili, Dense Jungle, Fiercely Resounding, Gruesome Charnel Ground, Forest of the Lord, Frightful with Skulls, Dark and Terrible
3. Ratnasambhava Hevajra
4. Amitabha Hevajra
5. Amoghasiddhi Hevajra
6. Vairochana Hevajra
7. Lineage Teachers (from left to right)
Vajradhara, Nairatmya, Virupa, Kanhapa, Damarupa, Avadhutipa, Gayadhara, Drogmi Lotsawa, Seton Kunrig, Shangton Chobar, Sachen Kunga Nyingpo, Sonam Tsemo Dragpa Gyaltsen, Sakya Pandita, Chogyal Pagpa
8. Bottom register (from left to right)
Mohavajra (white), Dveshavajra (blue), Matsaryavajra (yellow), Ragavajra (red), Irshavajra (green), Nairatmya Yogini (black), Kayavajra (white), Vakvajra (red), Chittavajra (black), Panjarnata Mahakala, Shri Devi, donor figure