A Bodhisattva in a 'relaxed posture' is a way of describing the sitting manner of the figures of Manjushri, Avalokiteshvara, Maitreya and the God Indra. These four in particular, and with examples, portray a specific look and attitude of a seated bodhisattva (plus one god). It is possible that other bodhisattvas in the same posture will be identified.
Avalokiteshvara, like Manjushri and Maitreya, is sometimes depicted in an almost identical relaxed pose with the right knee raised.
Avalokiteshvara, as a sculptural representation, in a 'Thinking' posture is commonly found in North Western India, Kashmir and Western Tibet. The form is characterized by the figure seated in a relaxed posture typically with the left leg pendant and the right drawn up. The most significant characteristics are the right arm with the elbow resting on the knee and hand raised with the index finger placed against the side of the face - head slightly tilted to the right. There are a number of different variations shown with the examples on the gallery page.
From among the many sculptural depictions of the figure of Manjushri, some have the right leg or left leg pendant. In these depictions the general appearance of Manjushri portrays him holding a sword and book, or sometimes with the hands in the Dharma Teaching gesture.
There are several Tantric texts describing Manjushri with this general physical appearance. One such text is from the Bari Gyatsa of Bari Lotsawa Rinchen Drag (1040-1112) and further elucidated upon by Konchog Lhundrub (1497-1557) in his edited version.
[8] "Vidhyadhara Pitaka Samkshepta: [Above] a lotus and moon is white Manjushri Arapachana. Holding a sword and a book, the same ornaments and garments, seated in the lalitaraja [posture]."
The important points in this very short translated description are the mention of the sword and book, and more importantly the 'lalitaraja' posture which states clearly a non-vajrasana posture and non-sattvasana posture. 'Lalitaraja' is sometimes translated as a posture of 'royal ease' which is characterized by one leg, left or right, extended forward.
Of the ten images below six of them have the hands folded in front of the heart in the Teaching gesture. Four of the depictions have a sword and book either held directly in the hands or placed above utpala flowers with the stems held in the hands.
Manjushri as a sculptural figure fashioned from metal, clay or wood, can be depicted in a standing posture. The majority of such images represent a non-iconic (non-Tantra) form of the deity that simply portrays Manjushri as an important figure and student of the Buddha from the Mahayana Sutra literature.
Standing representations of Manjushri might also be created to accompany statues of the Buddha where a bodhisattva figure would stand on the right and left side of the central Buddha, or possibly the figure of Amitabha Buddha. The most common accompanying figures are Avalokiteshvara, Maitreya, Vajrapani and Manjushri.
Manjushri 'holding a book' is an iconographic characteristic of several different forms of Manjushri - all of which are meditational deities (yidam, ishtadevata). These forms according to Tantric classification belong to the Kriya, Charya and Yoga Tantras. Early textual descriptions, prior to the 13th century, often place the text of the Prajnaparamita in the left hand and next to the heart of Manjushri.
Over the centuries the depicted iconography of these Manjushri forms changes. The Prajnaparamita book gets moved, relocated, to the top of a blue utpala flower blossoming next to the left ear, with the stem held between the ring finger and thumb, in the right hand of Manjushri. The most popular forms of Manjushri undergo the relocation of the text. Some less popular and much less commonly depicted forms of Manjushri are still described and depicted holding the text but the majority of depictions have adopted the new utpala and Prajnaparamita iconography.
Lachog Sengge, 1468-1535, was a religious teacher, scholar and a patron of the arts. There are numerous examples of paintings in museum and private collections around the world that were commissioned by Lhachog Sengge. The objects are all identified by inscription along the bottom front or on the reverse. Many of the paintings are dedicated to his personal teachers while others are dedicated to lineage teachers of the more distant past.
Manjushri in a relaxed sitting posture is a popular sculptural form in India, Nepal and Tibet. In this iconographic style Manjushri is typically depicted in a seated posture with the right knee raised and the wrist or elbow of the right arm resting atop the knee. The left hand is pressed downward onto the seat slightly behind the horizontal left leg. The upper torso of the body and head generally display a pronounced curve imitating the 'tribanga' form of standing figures.
Both hands can each hold the stem of a flower blossom. Usually the right hand holds a lotus blossom and the left an utpala (lily, iris). In a number of examples the left flower blossom supports a book or text representing the Prajnaparmita Sutras. The sculptural form representing the text on the left flower is sometimes in the shape of a cylinder. This is actually depicting a metal tube which is the outer box or container for the sutra text.
Again, with some examples of Manjushri in this form he is wearing a type of meditation belt extending around the waist on the proper left side and circling the right leg just below the knee.
There are iconographic examples of Avalokiteshvara which an appear very similar to Manjushri as depicted in these examples.
Arhat (Tibetan: ne tan): a Sanskrit term for Buddhist saints, more correctly in Tibetan meaning elder or 'sthavira' in Sanskrit. The arhats represent the earliest followers of the Buddha, always found depicted in a group of sixteen, they are painted on cloth, wall murals, and fashioned of metal, stone, clay, or wood.
An early iconographic source for the individual descriptions of the arhats is the verse text Praise to the Sixteen Arhats attributed to the Kashmiri teacher Shakyashri Bhadra of the 12th/13th century.
The earliest known paintings in Tibet are found as wall murals in Dratang Monastery in Central Tibet. However, the Dratang arhat paintings do not appear to depict the group of sixteen which gain popularity in Tibetan art some time later.
A gallery of Tibetan Kings and Ministers has been added to the Masterworks Page.
King Appearance in Himalayan and Tibetan art is a specific type of iconographic form included as one of the Eleven Figurative Forms. The principal characteristics are the face often with a stern look achieved by upturned eyebrows, glaring eyes, accompanied by a mustache and goatee. The clothing is heavy and layered with multiple colours, a cloth head covering, or hat, sometimes with a small jeweled crown, and boots on the feet.
There are four important subjects and distinctions to be made with regard to the various types of kings in Himalayan and Tibetan art.
[1] Kings with King Appearance
[2] Kings that don't have King Appearance
[3] Kings that belong to Sets
[4] Deities with King Appearance
In Himalayan and Tibetan art the word 'buddha' can have two general meanings. The first meaning belongs to the religious definition where 'buddha' describes a completely enlightened being having reached the peak of the Ten Bodhisattva Grounds (levels, stages) and progressed further to a 13th level known as complete Buddhahood.
In art 'buddha' also has the secondary meaning of 'Buddha Appearance' which refers to figures that have the form of a buddha as defined by the early Buddhist literature describing the physical characteristics of a buddha such as, for example, the Thirty-two Major and Eighty Minor Marks of Perfection.
Yamari, Krodharaja: this meditational deity is a form of Manjushri but appears with many features of the deities Vajrakila and Guru Dragpur. The descriptive texts and rituals originate with the Nyingma 'Terma' Tradition of the Shang Trom Lineage. The practice was also popularized by the 5th Dalai Lama of the Gelug and follows the Drigung Kagyu Tradition of the practice from the Shang Trom line. Karma Chagme, of the Karma Kagyu, is a prominent 17th century figure in the line of the 2nd lineage of dissemination.
According to the 5th Dalai Lama it was Traba Ngonshe (1012-1090) and Guru Chowang (1212-1270) who first introduced the Five Personal Gods into a Buddhist context. In more modern times it was the 5th Dalai Lama (1617-1682) who wrote a ritual text and popularized the practice. The 4th Panchen Lama, Lobzang Tenapi Nyima (1782-1853), also wrote a liturgical text for the Five Personal Gods. The first known Sakya text was written by Dagchen Kunga Lodro (1729-1783) who clearly states that his writings are based on the text of the 5th Dalai Lama. Kunga Lodro also mentions very clearly in the first few lines of the text that the group of five protector gods belong both to the Bon and Buddhist religions. The 4th Panchen Lama, Tenpa'i Nyima, describes the lineage of practice as originating with Padmasambhva and given directly to Lama Tsongkapa.
The White Chakrasamvara tradition of Lama Umapa describes the deity as having a single face and two arms, embracing a red consort. Both are in a seated posture. The male figure holds two long-life vases in the right and left hands folded around the back of the consort. The consort holds two skullcups in the right and left hands. She is seated with her legs wrapped around the waist of Chakrasamvara.
Lineage: Vajradhara, Manjushri, Pawo Dorje (Umapa), Tsongkapa (1357-1419), Jampel Gyatso, Kedrub Geleg Palzang, Baso Chokyi Gyaltsen, Chokyi Dorje, Lobzang Dondrub, Kedrub Sanggye Yeshe, Lobzang Chokyi Gyaltsen, Konchog Gyaltsen, Panchen Lobzang Yeshe, Lobzang Zopa, Lobzang Palden Yeshe, Lobzang Jampal, etc.
White Chakrasamvara is a meditational deity belonging to the Anuttarayoga classification of Buddhist Tantra. There are also subsidiary forms and practices of White Chakrasamvara that are specifically intended for the prolongation of life span.
The white form of the deity was popularized in Tibet and the Himalayan regions by the Indian teacher Mitra Yogin and the Kashmiri teacher Shakyashri Bhadra. The Mitra Yogin form of the deity is solitary (without a consort), in a standing posture, and part of a twenty-nine deity mandala. This form of the deity can be found in all of the Sarma traditions although practiced less frequently than the Shakyashri Bhadra tradition.
The Shakyashri Bhadra form of the deity is in a standing posture and partnered with Vajrayogini, red in colour. There are no retinue or accompanying mandala figures. The Sakya, Jonang, Kagyu and Gelug traditions mainly follow this tradition of White Chakrasamvara practice. There is also a long life practice associated with this deity, however the appearance remains the same.
The tradition of Lama Umapa, a teacher of Tsongkapa, describes the deity as white with a red consort, both in a seated posture. The male holds two long-life vases in the right and left hands. The consort holds two skullcups in the right and left hands. This form of Chakrasamvara with consort functions as a long life deity, unique to the Gelug Tradition, and appears to have been developed as a Tibetan creation.
The Arts of Tibetan Painting: Recent Research on Manuscripts, Murals and Thangkas of Tibet, the Himalayas and Mongolia (11th-19th century). Edited by Amy Heller.
This collection of articles is a hallmark in publication as Asianart.com's first venture in online publication of a complete volume, comprising 13 articles which stem from the 12th Seminar of the International Association for Tibetan Studies (Vancouver 2010). This volume of recent major discoveries and analyses by distinguished scholars of Tibetan and Mongolian art, history, and language is presented in a format accessible to non-specialist readers as well as specialists, copiously illustrated with detail enlargements. [The introduction above is taken from the Asianart website]. (See Table of Contents).
Kurukulla, Goddess of Power, Masterworks Page has been added.
Begtse Chen Masterworks Page has been added.
