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White Tara, (Tibetan: drol ma kar mo): the female Buddha of longevity. Tara is a completely enlightened buddha and as a young bodhisattva she promised always to appear in the form of a female bodhisattva and goddess for the benefit of all beings and especially to protect from the eight fears. In this white form she appears specifically for the purpose of bestowing longevity. Practiced in all Schools of Tibetan Buddhism Tara is second in popularity only to Avalokiteshvara. Her practices are found in all classes of tantra - Nyingma and Sarma.

"...with a hue white like an autumn moon - radiant like a stainless crystal jewel, shining with rays of light, one face, two hands, and having three eyes; with the conduct of having sixteen years of age. The right hand is in the mudra of supreme generosity; the left holds with the thumb and forefinger the stem of a white utpala to the heart with the petals blossoming at the ear. Representing the buddhas of the three times the single stem is divided into three, in the middle is a blossoming flower, the right in fruition, the left in the form of a bud; adorned with various jewel ornaments; having various silk upper garments and a lower garment of red silk; seated with the legs in vajra posture. The palms of the hands and feet each have an eye - the seven eyes of pristine awareness." (Sachen Ngagwang Kunga Lodro, 1729-1783).

Forms & Types:

- White Tara (without extra eyes) Atisha Tradition

- White Tara (with seven eyes)

- White Tara (with four arms) (Bari & Sadhanamala Tradition)

- White Tara (with consort) Khyentse Tradition (Terma)

- White Tara (and the Eight Fears)

- White Tara forms (from the Five Systems of Twenty-one Taras)

- Others...

This group of Dralha known as The Nine Brothers are a popular subject in art and frequently found depicted in paintings. So far there does not appear to be any examples prior to a 17th century. It is likely that they gained popularity, along with many of the other Tibetan worldly gods, during the time of the 5th Dalai Lama, Ngagwang Lobzang Gyatso (1617-1682), with some of the earliest texts written by the 7th Dalai Lama, Kalzang Gyatso (1708-1757). This would also help to explain the popularity of the Nine Brothers in China and Mongolia.

The central figure depicted in paintings is Dralha Tatug Karpo, white in colour, with one face and two hands, dressed as a warrior and riding a white horse. The upraised right hand holds a whip made of a length of bamboo with three joints. Holding the reins in the left hand, he also supports a spear in the bend of the elbow. Surrounding the central figure are eight almost identical Dralha brothers.

The iconography of the Dralha Nine Brothers is not consistent and they can appear either with a peaceful, semi-peaceful or wrathful demeanor. The attributes in the hands can also vary from a riding whip, spear or sword in the right hand to a spear, lasso or simply the horse reins in the left hand. More detailed paintings sometimes depict various birds and animals surrounding the central figure. Amongst the examples available on HAR only one central figure is holding a sword. It is also likely that there are several different textual traditions and ways of depicting the Nine Brothers.

Dralha Appearance, especially in the terminology of artists, refers to a figure having the general appearance of a Tibetan warrior - typically male, wearing armor and riding a horse. They can have a peaceful, semi-peaceful or wrathful expression. Many Tibetan & Himalayan Mountain Gods have this Dralha appearance, however not all of them are defined or referred to as Dralha, although they have the appearance of a Dralha.

There are two generals ways in which the Tibetan term 'dralha' is understood in Himalayan and Tibetan art: (1) as a class of gods and (2) as a general warrior appearance.

1. Dralha is the name of a class of indigenous gods inhabiting the Himalayas, Tibet and Central Asia. They are found in both the Bon and Buddhist religions. In Tibetan Buddhism, the Dralha are said to have been subjugated and then forced into the service of Buddhism as worldly protector gods by the 8th century Indian teacher Padmasambhava.

The Tibetan word 'dralha' is considered to be a Buddhist word having been changed from the word 'drablha' used in the Bon Religion and referring to a 'life god' associated with a person, tribe or place. See a depiction of Dralha Yesi Gyalpo the special protector and 'life god' of the Bon Religion founder Tonpa Shenrab - when he was a mere boy - according the early life stories.

2. Dralha Appearance, especially in the terminology of artists, refers to a figure having the general appearance of a Tibetan warrior - typically male, wearing armor and riding a horse. They can have a peaceful, semi-peaceful or wrathful expression. Many Tibetan & Himalayan Mountain Gods have this Dralha appearance, however not all of them are defined or referred to as Dralha, although they have the appearance of a Dralha.

For all of those gods that are classified as Dralha, when appearing in a painting composition, typically Krodha Vajrapani blue in colour and wrathful in appearance, is placed above at the top center. This indicates that the Dralha are worldly gods under the watchful gaze of the powerful Vajrapani. Some paintings will alternately have Padamasambhava at the top center. It is very easy to confuse the appearance of an ordinary protector Dralha from the various sub-sets and the figure of King Gesar who is often depicted in Dralha appearance.

Many commonly known gods and deities have Dralha Appearance such as: Tsiu Marpo and most 'Tsen' deities, Dorje Setrab, Amnye Machen Pomra, Draglha Gonpo, and many more.

1. Five Personal Gods
which include a Dralha (or all are referred to as Dralha)

2. Nine Dralha Brothers

3. Thirteen Dralha

4. Gesar, Dralha

5. Others...

Chakrasamvara with Five Deities according to the tradition of Ghantapa (Ghantapada). Although referred to as a five deity mandala there are actually six figures with the two central embracing deities, Chakrasamvara and Vajrayogini, counted as one. The Chakrasamvara figure of the Ghantapa Tradition is identical to the form of Chakrasamvara as represented in the famous Sixty-two Deity Mandala of the Mahasiddha Luipa Tradition.

General Description: At the center is Chakrasamvara with four faces and twelve hands, embracing Vajrayogini. In the East is blue Dakini, South is yellow Rupini, West is red Khandarohe and North is green Lama. In some texts the four attendant dakinis are said to have two hands holding a curved knife and skullcup. In other texts they are described as having four hands and holding a curved knife and skullcup along with a damaru and katvanga staff. However it is generally stated in the Tibetan commentaries that in the Luipa Tradition the four dakinis have four arms and in the Ghantapa Tradition they have two arms. In the four intermediate directions are four vases topped with a skullcup.

The significant iconographic feature of the form of Chakrasamvara is the consort embracing the body with both legs raised and wrapped about the torso. Another characteristic are the four faces. The central face is blue with the proper right face yellow, left face green and the back face is red. This configuration of faces is different from the Krishnacharin system of Chakrasamvara where the faces are blue for the main, white for the proper right, red for the proper left and yellow at the back. The Ghantapa form of the deity and mandala can easily be mistaken for the Thirteen Deity Chakrasamvara according to the Maitripa Tradition (see example). The difference is in the number of deities with the Maitripa adding four intermediate dakinis and four Door Guardians.

There are a number of forms of the wealth goddess Vasudhara. The most popular and common in Tibetan art is the yellow two armed form and the most common in Nepalese art is the yellow six armed form. Aside from these two forms and other versions of the yellow Vasudhara there are also three traditions of a red single faced two armed form of the deity. The red forms are generally considered 'power' deities which means they still perform the function of a wealth deity but with the added aspect of increased strength or 'power'

Two Armed Description: "Vasudhara, with one face and two hands. The right [hand] in the gesture of supreme generosity and the left holds tufts of rice and a vase, showering down various jewels. Having jewel ornaments and garments of silk. Completely surrounded by friendly beings. Seated in the vajrasana [posture]." (Konchog Lhundrub, 1497-1557. From the One Hundred Methods of Accomplishment).

Six Armed Description: "Vasudhara, yellow, with one face and six hands; in a manner happily seated at play. The first right hand is in a gesture of supreme generosity, the second 'raining jewels,' the third with the hand in a gesture accompanying singing. The first left holds an abundant vase, the second a sheaf of grain, the third [holds] the Prajnaparamita text; adorned with all jewel ornaments." This form of Vasudhara arises from the Togpa Chungwa and the Vajravali text of Abhayakaragupta.

There are a number of different forms and traditions of the wealth deity Jambhala. He is found in five principal colours: yellow, black, white, green and red. The most common are the yellow and black Jambhala forms followed by the red and white forms. Some of these can also have several different appearances with varying numbers of hands and heads. If Jambhala is appearing with a consort it is almost always the goddess Vasudhara. Aside from those Indian Buddhist forms, there are also Nyingma forms of Jambhala that arise from the 'Revealed Treasure' Tradition. One particular form has the physical appearance of Black Jambhala but in this Nyingma example he is multi-coloured with arms, legs, torso and head all different. Other than the Traba Ngonshe and multi-coloured forms no other Nyingma Jambhala figures are presently listed on the Jambhala Main Page.Others will be added as they become known.

Bhurkumkuta, Krodha Raja (Tibetan: me wa tseg pa, tro wo gyal po) is a meditational deity specifically employed in the eradication of sickness, illness and disease. The emphasis for the function of Bhukumkuta is illness of an individual person while the emphasis for all the different types of contagious diseases in general is found with the deity Parnashavari. Many specific illnesses can be associated with any number of other deities such as blood disorders with Hayagriva, leprosy and skin disorders caused by nagas are relieved by the meditational deity Garuda for example. Bhurkumkuta is found in the Nartang Gyatsa and Rinjung Gyatsa collections of sadhanas (practices). Both of these collections of Indian Buddhist practice were compiled in Tibet. Bhurkumkuta is more commonly found as a minor figure in painted compositions. Three of the images exhibited here are intended as Initiation Cards (tsakli).

Several hundred photos of Wutaishan Mountain in China have been uploaded to the HAR website. They are not art photos per se but rather snap shots of some of the important stupas, temples, sculpture and sight locations. The mountain with its five terraces (peaks) and the narrative relating to the Mahayana bodhisattva and Tantric figure Manjushri are important in the art of the Himalayas, Tibet, Nepal, China and Mongolia.

In the center of the vast pilgrimage site, in the principal valley is a large white stupa constructed by the famous Nepalese artist Aniko, also responsible for the White Stupa in Beijing. In the recorded literature it also states that Chogyal Pagpa himself assisted in the physical construction of the stupa - all during the time of Kublai Khan in the Yuan dynasty. It would be a huge task to document and photograph all of the major and minor sites at Wutaishan and likely take more than a week to conduct a traditional pilgrimage even with the use of a motor vehicle.

Over the next few months the images of the various sites will be divided into thematic pages accompanied by identifications and explanations wherever possible.

Wutaishan Mountain in China is considered special for the Buddhist deity/bodhisattva Manjushri. According to oral history and Chinese literature it was Chogyal Pagpa who first talked about the five different forms of Manjushri that are represented on each of the five peaks (actually terraces): central and four directions. The Five Manjushri forms are not depicted in a consistent manner with iconographic differences appearing between the various paintings be they central figures or minor figures in a composition. This may suggest that there was no original definitive iconographic description for each of the five forms of Manjushri. These forms became more standardized after the publication of the White Beryl astrological text of Desi Sanggye Gyatso in the 17th century.

Tibetan astrology is said to have originated from the teachings of Manjushri while he dwelt on Mount Wutaishan. It is also from here, looking out onto the world, that Manjushri perceived the brilliant light shinning from the relics of Dipamkara Buddha in the lake of what is now known as the Kathmandu Valley. Manjushri used his sword to cleave an opening in the mountains to drain the lake. The relics of Dipamkara are safely contained in the Swayambhunath Stupa.

Later, after the time of Tsongkapa, a Manjushri emanation, and based on the visions of the direct student Khedrubje, five forms of Tsongkapa also became associated with the five peaks. The five forms of Manjushri are unique to Wutaishan while the five forms of Tsongkapa can also be found represented in other compositions and art contexts. (See a painting of Wutaishan depicting both groups of five).

Four new selected masterworks pages have been added to the Himalayan and Tibetan Masterworks Page.

Deities & People Sets - Masterworks:

Dalai Lama, Tibetan Teacher

Satrig Ersang/Sherab Chamma

Tsongkapa, Tibetan Teacher

Virupa, Mahasiddha

The links below are directed to selected masterworks pages for various subject categories (not all) of Himalayan and Tibetan art. These works are drawn from the museum and private collections on the HAR website based on quality and aesthetics first, along with a consideration for time period, style and region.

Subject Sets - Masterworks:

Bon Painting

Bon Sculpture

Ngor Tradition Masterworks

Textiles

Tibet House, New Delhi (Sculpture)

Deities & People Sets - Masterworks:

Achala

Amoghapasha

Avalokiteshvara, Chaturbhuja

Chakrasamvara

Ganapati

Guhyasamaja

Hayagriva

Hevajra

Kalachakra

Karmapa

Manjushri

Pancha Raksha

Panjara Mahakala

Shri Devi, Magzorma

Vajrabhairava

Vajrakila

Vajrapani

Vajrayogini

Vajrayogini, Varahi

Yama Dharmaraja

Guhyasamaja is one of the important and popular deity figures in Tantric Buddhist art. He is represented in three different forms and with paintings can generally be differentiated quite easily by colour: Akshobhyavajra (blue), Manjuvajra (orange) and Avalokita (red). The selection of objects included amongst the masterworks are drawn from paintings, murals, sculpture, mandalas and a very fine textile image from China.

The images in this gallery page are from a large format traditional Tibetan drawing of animals, insects, mythical beasts and natural landscape scenes. It is a great example of skilled Tibetan drawing where the flow can be seen along with the widening and narrowing of the various brushstrokes. The creatures seem almost alive with a dynamic energy and playfulness - the mind of the artist. The work of art was created by the first Rubin Museum of Art (New York) Artist-in-residence, Pema Rinzin, during the length of the exhibition 'Bon, the Magic Word' (2007-2008). The work, along with several others, now resides in the Rubin Museum of Art permanent collection.

This is a very unusual form of Manjushri with possibly eleven faces and one thousand arms. The stacked heads are reminiscent of Avalokiteshvara. The first two pairs of hands hold a vajra and bell. Another pair of arms are stretched upward with the two hands holding a single buddha. The remaining hands fanned out to the sides each hold a buddha figure. Manjushri sits in a western style with the legs in front and the soles of the feet on the ground - atop a giant tortoise. There is currently no available Tibetan or Sanskrit text describing this form of the deity and it is possible that it is unique to the Buddhists of Wutaishan Mountain.

This very large Avalokiteshvara sculpture resides at the Dazu Grotto in Sichuan Provence, China. The site is massive and the size of some of the standing sculpture is breathtaking. There are three types of Avalokiteshvara images in this gallery: [1] photos of portions of the sculpture while it is covered in scaffolding and being repaired, [2] photos of photos of the complete work and [3] photos of a stone replica a fraction of the size of the original. The replica conveys a very good idea of the complexity and detail of the overall work.

The Wheel of Life stone carving in the Dazu Grotto is very likely the largest depiction in the world. This particular model of the Buddhist cosmology, the environment and inhabitants, is based on the interpretation of one particular Chinese monk in the 12th century. Wheel of Life depictions are usually based on the Abhidharma literature of the Theravada and Sutrayana vehicles and the artistic examples that are copied or used for inspiration such as the famous Ajanta Cave depiction. Within the Vajrayana system various divergent models are presented with the foremost being that of the Kalachakra Tantra. At the Dazu Grotto we have what is possibly the worlds largest and most idiosyncratic Wheel of Life - carved from stone.

The Dazu Grotto is not just one location but a number of sites in Sichuan Province of China. Dating from as early as the 7th century the various sites contain 75 locations and over 50,000 rock carved statues. It is also a UNESCO World Heritage site. There are numerous temples associated with the different sites along with fascinating Chinese Tantric imagery.

The Sichuan University Museum, of Chengdu, China has a collection of approximately 300 Tibetan paintings and numerous sculpture and ethnographic items. Only a few of the objects, those on the gallery floors, are available to be photographed while most of the objects remain in storage. (See more images from the Art & Archeology - China website).

The red hats of the three Karma Kagyu teachers Shamar, Gyaltsab & Tai Situ can all appear to be identical in colour, shape and design. According to oral and literary tradition the hats are all described as being slightly different. When observing both paintings and sculpture it is almost impossible to be 100% accurate in making an identification without looking at a multiplicity of indicators. See a comparison of just Shamar hats and a previous post from February 7th 2010 discussing the both the red and black hats of the Karma Kagyu Tradition.