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Lamrim Lineage sets of paintings where each lineage figure is depicted in a single composition, surrounded by life story scenes, are quite rare. It is very common to find the Lamrim lineage all together in a single composition with Je Tsongkapa at the center. This set is by far one of the most beautiful known to exist. There are only twelve paintings known to exist that belong to this Lineage Set (Stages of the Path). The total number of paintings belonging to the original commission is currently unknown but would likely exceed more than fifty compositions in number. The majority of the paintings below belong to private collections with only two known to belong to a museum. (See the Lamrim Painting Set Outline Page).

Rubin Museum of Art:

Shantarakshita

Purbu Chog (student of Geleg Gyatso)

Dr. David Nalin Collection:

Namkha Gyalpo

Gendun Drub, 1st Dalai Lama

Yeshe Dorje

Unidentified

Private Collections:

Asanga (student of Maitreya)
Dromton (student of Atisha)

Unidentified (student of Acharya Vairochana)

Vidyakokila the Younger (student of Vidyakokila the Elder)

Chokyi Dorje, 15th century (student of Baso Chokyi Gyalstsen)

Geleg Gyatso, 16th/17th century (student of 1st Panchen)

The Kundeling painting set is missing the 5th Tatsag composition and was likely a nine painting set in total with the inclusion of Manjushri. The set was most probably created after the passing of the 8th Tatsag after 1810 and before the recognition of the 9th Tatsag (born in 1811). It is not currently known in which year the 9th was recognized, but this could have been up to five or ten years later.

The composition and execution of the paintings in a Chamdo style follows very closely with other known paintings, both in private and museum collections, associated with the Chamdo region of Eastern Tibet.

1. Baso Chokyi Gyaltsen, 1st Tatsag (1402-1473)

2. Jetsun Lhakyab, 2nd Tatsag (1474-1508)

3. Liyul Chokyi Gyalpo, 3rd Tatsag (1509-1526).

4. Lhawang Chokyi Gyaltsen, 4th Tatsag (1537-1604).

5. Ngagwang Chokyi Wangchug, 5th Tatsag (1606-1652)

6. Ngagwang Konchog Nyima, 6th Tatsag (1653-1707).

7. Lobzang Palden Gyaltsen, 7th Tatsag (1708-1758).

8. Gyaltsab Yeshe Tanpa'i Gonpo, 8th Tatsag (1760-1810)

The Vaishravana Main Page has been updated with information and images.

There are three divisions in the study of Vaishravana iconography. The first, discussed above, is [1] Vaishravana as part of the group of Four Guardian or Direction Kings. These four are based on narrative descriptions found in the early Sutras. The second [2] classification of Vaishravana iconography is where the Four Guardian Kings are included in a larger retinue of a Tantric Mandala such as Medicine Buddha, Pancha Raksha or the Tara Seventeen Deity Mandala. The third division [3] contains all of the forms of Vaishravana as found in the Tantra literature where the deity is either the principal figure for meditation, or visualized in front of the Buddhist practitioner. These forms of Vaishravana generally have the function of wealth-bestowing. Vaishravana in his form known as Vaishravana Riding a Lion is the most common in art and most popular Tantric form of the deity. The Sakya Tradition preserve and teach seventeen different forms of Vaishravana (example 1, example 2).

The Twelve Yaksha Generals belong to the mandala of the Medicine Buddha. The full set of deities in the mandala number fifty-one paintings, textiles, or sculpture in total. The images of the Twelve Yaksha Generals below represent what remains of a number of different sets.

These figures are commonly misidentified as being forms of Jambhala, Vaishravana or the erroneously identified Kubera (who is not found in Himalayan and Tibetan iconography except as a minor figure in a few mandalas).

Twelve Yaksha Generals:

36 (1). Eastern direction, Jijig, yellow, vajra.

37 (2). Vajra, red, sword.

38 (3). rgyan 'dzin, yellow, stick.

39 (4). Northern direction, g.za' 'dzin, light blue, stick.

40 (5). rlung 'dzin (Vatadhara), red, trident.

41 (6). gnas bcas, smoky-coloured, sword. Example 2

42 (7). Western direction, dbang 'dzin, red, stick. Example 2

43 (8). btung 'dzin, yellow, stick.

44 (9). smra 'dzin, pink, axe.

45 (10). Southern direction, bsam 'dzin, yellow, lasso.

46 (11). g.yob 'dzin, blue, stick.

47 (12). rdzogs byed, red, wheel.
All hold a mongoose in the left hand, with short fat limbs and a large stomach.

Additional paintings and sculpture have been added to the Medicine Buddha Retinue Figure Page. The Medicine Buddha and his mandala of fifty-one deities was a very popular theme in Tibet and especially in China. Many sets were created of each of the individual figures with the paintings, or embroidered textile, created in a smaller format size and then strung together and hung from the rafters of temples. These smaller format compositions often had elaborate Chinese brocades and cloth mounts.

Included in the fifty-one figure mandala are Twelve Yaksha Generals that are commonly confused with the wealth deities Jambhala and Vaishravana because of their regal appearance, portly size, and the mongoose held in the left hand.

Shri Devi Rangjung Gyalmo & Bernagchen Mahakala as a couple sit astride a donkey atop a sun disc and surrounded by orange, red and yellow flames of pristine awareness. The unique aspect to these combined wrathful protectors is the female - Shri Devi - is the principal iconographic figure facing forward, or outward in a painting or sculpture. Bernagchen Mahakala is the secondary figure embracing Shri Devi and looking towards her.

There are many forms of Shri Devi both taught in the Indian Sanskrit texts and originating in Tibet with the Nyingma 'Revealed Treasure'. This form of Shri Devi, Rangjung Gyalmo, follows the appearance as described in the 'Revealed Treasures' of the Nyingma Tradition of Tibetan Buddhism. The Marpa Kagyu Tradition in general maintains a special form of Shri Devi that originated with the Indian Mahasiddha Naropa - generally referred to as the Naropa Tradition Shri Devi. The Karma Kagyu School practices both the Naropa Tradition and in particular the Rangjung Gyalmo passed down from Karma Pakshi - the 2nd Karmapa.

Rakta Yamari is a Tantric Buddhist meditational deity believed to be an emanation of the deity and bodhisattva Manjushri. There are two general types of Yamari deities - red (rakta) and black (krishna). The Red Yamari has several different traditions - each primarily differentiated by the number of deities represented in the mandala and the associated human lineage teachers. The Krishna and Rakta Yamari figures belong to the New 'Sarma' Tradition of Tibetan Buddhism and are practiced in all of the main schools of Tibet and the Himalayan cultural regions. (Also see the Rakta Yamari Masterworks Page).

Manjushri has a number of popular meditational forms belonging to the Anuttarayoga Classs of Tantric Buddhism which are primarily the Manjuvajra Guhyasamaja, Vajrabhairava, and the two Yamari - red and black. Manjushri also has dozens of peaceful meditation forms originating in the Kriya, Charya and Yoga Tantras. (For the lower Tantra forms see the Manjushri Lhakang Page and for the Anuttarayoga see the Forms & Emanations Comparison Page).

Guru Dragpo, originating in the 'Revealed Treasure' Tradition of the Nyingma School of Tibetan Buddhism, is a wrathful meditational form of Padmasambhava. Although technically a guruyoga practice the function of Guru Dragpo is that of an ishtadevata (meditational deity). In the Nyingma Tradition, following after the early meditational deities of the Guhyagarbha Tantra and Eight Heruka this practice of Guru Dragpo is possibly the most popular and the most represented in art. In the 16th century the teacher Pema Karpo popularized a variation on Guru Dragpo called Guru Dragpur - principally practiced in the Drugpa Kagyu School.

The meditational deities of the Nyingma can be divided into three principal categories of deities. The first are those deities described in the [1] Guhyagarbha Tantra. The second category are the [2] Eight Heruka including Mahottara. The third category are all of those forms that are included in the [3] 'Revealed Treasure' Tradition (terma). Many 'Revealed Treasures' are simply variations on the forms of the Guhyagarbha and Eight Heruka, however an entirely new group developed which are based on the being of Padmasambhava. This third group includes deities such as the Outer, Inner and Secret Forms of Padmasambhava which include Guru Dragpo, Simhamukha and many others.

Forms & Types of Guru Dragpo:

1. Single (one face, two arms)

2. Single (with consort)

3. Heruka (three faces, six arms, consort)

4. Karma Guru Heruka (without consort)

5. Tarig Terma Tradition (with consort)

6. Others...

The Manjushri Lhakang (temple) of Sakya Town in Tibet, is located in a small room above the building known as the Drolma Lhakang located a short distance from the main Lhakang Chenmo temple complex of Sakya. The Drolma Lhakang has three separate temple rooms. The first, on the ground floor, is called the Drolma or Tara temple although there is little inside that is specifically dedicated to Tara. To the right side of the main entrance, accessed through a separate door, is the Tangtong Gyalpo Lhakang. In June of 2007 this temple was under going extensive renovations. From an upper floor window murals of repetitive images of Tangtong Gyalpo could be seen on the walls.

The Manjushri Lhakang is located on the 2nd floor of the two storied Drolma Lhakang building. The room has a single pillar in the middle and a couple of small windows. There is no shrine or furniture in the empty room. The four walls are painted with murals, floor to ceiling, depicting every form of Manjushri, peaceful and wrathful. The more important, or common, of the forms are painted large scale with the minor, or more obscure forms, smaller in size. Each iconographic form is accompanied with a name inscription. Some of the Manjushri forms have retinue deities which can be seen clearly in image #46875. The iconography of the paintings represent the many forms of Manjushri found in the Kriya, Charya and Yoga Tantras of Tantric Buddhism. One wall has sustained damage and the paintings have been effaced with cracks patched and filled. The general format and stylistic elements of the murals and comparing them with the more datable murals of Jonang Monastery, Tagten Damcho Ling, not far away, would suggest a date of the 17th century for the creation of the paintings. (The photos were taken in June of 2007).

Meditation Instructions for Calm Abiding (Shamatha) in the form of a painting with accompanying instructions. The idea of relating the mind to an unruly elephant along with the monkey and other elements in the visual example of Calm Abiding meditation originates in the writings of Asanga and then later in the meditation commentaries of Je Tsongkapa. It is thought that the artistic depiction of the practice is relatively late and possibly first arose in the 19th century as a wall mural. The image above is of a poster published in India in the early 1970s. An original Tibetan version of the painting has not yet been located. (See a black and white line drawing of the same image).

Key Elements:

- The monk holding an elephant goad and a lasso is the individual.

- The flame represents effort.

- The elephant represents the mind.

- Black elephant colour - the mental factor of sinking - lethargy.

- The monkey is distraction.

- Black monkey colour - the mental factor of scattering.

- The Five Objects of Sensory Pleasure are the object of distraction.

- The rabbit represents subtle sinking - lethargy.

Chakrasamvara Body Mandala depicted according to the Newar Buddhist Tradition of Kathmandu, Nepal. Each of the mandala deities is accompanied by a Sanskrit name inscription written in Devnagari script. The figures are sixty-two in number and follow precisely the list of deities that make up the Sixty-two Deity Chakrasamvara Mandala.

A seated human figure is located at the center of the composition which represents an individual Buddhist Tantric practitioner. Over-laying the body and to the sides and above are numerous circles of deities. These figures in the composition represent the internal Body Mandala for the Tantric Buddhist system of the Chakrasamvara Tantra which typically has sixty-two deities in the external mandala. These same sixty-two deities are subsequently arranged and placed at various locations within the physical human body of the practitioner - hence the body mandala, or internal body mandala.

Internal Body Mandala concepts and theories are common to many religious and spiritual traditions of Asia such as the Shaiva, Shakta, Yoga, Tantric Buddhist, Bon and Taoist Traditions.

In the Kagyu Tradition of Tibetan Buddhism these same sixty-two deities are also super-imposed onto the Tibetan landscape and many pilgrimage sites have been created, named, or claimed as part of the greater geographical Chakrasamvara mandala. Over the centuries, many Bon pilgrimage sites have been taken over and claimed to be holy for the practices of Chakrasamvara. Mount Kasilash in West Tibet is believed to be the center of the Tibetan Chakrasamvara geographical mandala with the top of Mount Kailash as the abode of Chakrasamvara and  Vajrayogini.

Mount Kailash is still holy according to Bon belief and is sacred for the two wrathful deities Welchen Gekho and Zhangzhung Meri.

These large size murals, larger than life, of the Five Buddhas are painted on the facing wall of the Kangyur Lhakang in Shalu Monastery, Tibet. Compare these five images with site location images from the Leigh Sangster Archive - Kangyur Lhakang.


The Five Buddhas:

1. Vairochana Buddha, white

2. Amitabha Buddha, red

3. Akshobhya Buddha, blue

4. Ratnasambhava Buddha, yellow

5. Amoghasiddhi Buddha, green

Five compositions depicting Jamyang Khyentse Wangpo at the center with further depictions of his previous incarnations in the remaining four compositions. (See the Khyentse incarnation lineage arranged in a single composition).

Central Figures:

1. Jamyang Khyentse Wangpo (main center)

2. Trisong Detsen (right first)

3. Jestun Dragpa Gyaltsen (left first)

4. Gampopa Sonam Rinchen (right second)

5. Dromton Gyawa'i Jungne (left second)

The five images shown here are temporary snapshot photos. Higher quality images of the five compositions along with detail images will be uploaded in the next few weeks.

A very clear set of seven block prints depicting Shakyamuni Buddha & the Sixteen Arhats has been added to the Tibet House, New Delhi, Gallery Page. These prints are based on the famous Nartang Monastery set of prints from the 18th century. (See the Tibet House Quick Guide to browse the full collection).

A gallery of miscellaneous images from various sets of the Twelve Dzogchen Buddhas of the Nyingma Tradition of Tibetan Buddhism. These twelve figures are found in the Revealed Treasure text called the Three Inner Cycles of Peaceful Deities discovered by Choggyur Lingpa. Only four or five of the Buddhas in the group of twelve have Buddha Appearance. The remaining eight or so Buddhas have Peaceful, Semi-peaceful/wrathful and Wrathful Appearance. The specific appearance of each of the twelve Buddhas is not consistent between the miscellaneous paintings and the initiation card set. Although popularized by Choggyur Lingpa in the 19th century, these Twelve Buddhas were already well established in the 'Revealed Treasure' tradition.

Painting Sets:

- Set 1 (one of three paintings)

- Set 2 (one of twelve or thirteen paintings)

- Gold Set 3 (two of twelve or thirteen paintings)

- Initiation Cards (complete set)

The images found on this gallery page are twelve illuminations from volume two [gsung 'bum 'gyur med bde chen, WA. TBRC P644] of the collected works of Lochen Gyurme Dechen ('gyur me bde chen). He is most famous for writing the biography of Tang Tong Gyalpo who is credited with founding the Chagzampa Tradition of the Shangpa Kagyu to which Gyurme Dechen was closely associated. Four of the illuminations depict Gyurme Dechen, numbers #3, 4, 9 and 11.

The illuminations below use two types of script, Lantsha and Tibetan, and two languages, Sanskrit and Tibetan. Some of the Lantsha letters are very difficult to read and appear to be slightly Vartu script in execution because of the hand-writing style. Illuminations numbered #1 through 4 and #11 use Lantsha script. Illuminations #5 through 10 use Tibetan script. (For the written scripts used in Tibetan religious texts see the website Indian Scripts in Tibet).

Inscriptions:

1. Nama shri kalachakraya (dpal dus kyi 'khor)

2. Nama Kalki vijaya sukirtiya (rigs ldan rnam rgyal grags pa bzang po)

3. Nama akshara mahasukhaya ('gyur med bde chen)

4. Nama akshara mahasukhaya ('gyur med bde chen)

5. Om Ah niguma nama (om A ni gu ma)

6. Om Ah virya bhadra nama (Om A brtson 'grus bzang po)

7. Om Ah Vajradhara nama (Om A rdo rje 'chang)

8. Punya sagara, Punya dhvaja nama (khrus khang bsod nams rgya mtsho)

9. Gyurme Dechen and Kunga Drolchog (Lo chen 'gryur med rdo rje dang kun dga' gro mchog)

10. Shadbhuja Mahakala (Phyag drug ye shes mgon po)

11. Nama akshara mahasukhaya ('gyur med bde chen)

12. [the final illumination has no inscription - Amitayus Buddha]

- Illumination #5,6,7, and 8 are written with Tibetan letters using Sanskrit names for Niguma, Virya Bhadra, Vajradhara, Punya Sagara and Punya Dhvaja.

- The second name in illumination #8, Punya dhvaja, has not yet been identified with a Tibetan figure.

- The names in illuminations #9 and #10 are written with Tibetan letters using Tibetan names.
- The final illumination, #12, has no inscription.

A number of the names on the illuminations have been identified based on the various names with which Dechen Gyurme signed his miscellaneous works, or the names of individuals mentioned in the volume two compilation text.

A gallery page of Masterworks has been added to the Yellow Jambhala Main Page. Also see the Masterworks Main Page.

Yellow Jambhala is a male, rotund figure, wearing ornaments and heavenly garments similar to a bodhisattva figure in Buddhist art. The form of Jambhala follows that of a Yaksha figure in Indian art, which is also similar to the appearance of the Four Guardian Kings in Tibetan art. According to the system of the Eleven Iconographic Appearances - Jambhala belongs to King Appearance.

Jambhala is a wealth deity. His practices, rituals and meditations are done for the purposes of acquiring wealth - either slowly or quickly. The Tantric origins of Yellow Jambhala begin with the early Tantra texts such as the Siddhaikavira Tantra and the Manjushri Mula Kalpa Tantra. In the Anuttarayoga system Jambhala is found in the Hevajra, Guhyasamaja and Chakrasamvara Tantras. The Hevajra Tantra in particular relies upon Yellow Jambhala, in his two armed form, as the wealth deity specific to practitioners of the Hevajra system.

Yellow Jambhala is commonly found as a minor, or secondary, figure in paintings, generally included in the lower portion of a composition above or next to the Dharma protector figures.

There are many more sculptural objects of Yellow Jambhala than there are paintings. The reason for this apparent imbalance between painting and sculpture is because there is a special ritual practice involving Jambhala that requires a physical representation, a sculpture - generally small in size. The actual practice involves pouring 108 offerings of water over the head of Jambhala accompanied by a short mantra with each offereing. The ritual is narrative based and originates with an event from the life of Shakyamuni Buddha.

"Yellow Jambhala with one face and two hands. The right [hand] holds a bijapuraka [fruit] and the left a mongoose with jewels showering down. [With] two feet pressing down on a conch and lotus treasure. Adorned with a blue utpala garland and jewel ornaments." (Konchog Lhundrub, 1497-1557. From the One Hundred Methods of Accomplishment).

Forms & Types:

- Yellow Jambhala (solitary)

- Yellow Jambhala (with consort)

- Yellow Jambhala (with nine deities) Mitra Tradition

- Yellow Jambhala (with consort & eight paired retinue figures) Siddhaikavira Tantra

- Yellow Jambhala (three faces, six arms, consort)

- Yellow Jambhala (three faces, six arms, consort) Guhyasamaja Tradition

Bodhisattva, heroic aspirant to enlightenment, idealized beings in the appearance of youthful and beautiful heavenly gods, richly attired in silk-like garments and jewels. Bodhisattvas can be male or female and represent the principal realized students of Shakyamuni Buddha, Amitabha Buddha and others, according to the Mahayana Sutras of Northern Buddhism. There are many bodhisattvas mentioned in the Sutras but the most famous and most commonly represented in art are the Eight Great Bodhisattvas. (See the full definition of the term Bodhisattva).

Eight Great Bodhisattva:

Akashagarbha: Womb of Space Sutra, others

Avalokiteshvara: Heart Sutra, Lotus of the Good Law Sutra, others

Kshitigarbha: Earth Store Sutra

Maitreya: mentioned in the Pali Sutras as the next buddha, Mahayana Sutras

Manjushri: Vimalakirti-nirdesha Sutra, Flower Garland Sutra, Prajnaparamita Sutras

Nivarana-vishkhambhin

Samantabhadra: Lotus of the Good Law Sutra, Flower Garland Sutra

Vajrapani: Early Sutras

In 10th-13th century India there were several praises (stotra) composed by scholars and devotees glorifying the deeds of their favourite bodhisattva from Sutra literature. Tibetan tradition follows these various praises with four bodhisattva in particular being regarded as the most important; Manjushri, Avalokiteshvara, Vajrapani and Maitreya.

Depictions of the eight bodhisattva are non-iconic and follow the artistic traditions of the time, art school, or choices of the artist. Non-iconic means they do not have fixed body colours, postures or hand attributes. Later traditions began to mix Tantric iconography with the non-iconic imagery of the Mahayana Sutra Bodhisattva. For example Manjushri would be depicted as orange in colour and holding a sword in a variety of relaxed postures. Avalokiteshvara would be white in colour and holding a white lotus flower.

The first three bodhisattva also came to hold important positions in the early Tantras of the Kriya Classification and as a group are called the Three Lords of the Families, or Three Bodhisattva Lords (Tibetan: rig sum gon po). In this role the three take on fixed iconographic appearances as described in the specific Tantra literature.

Sets Of Eight Great Bodhisattvas:

- Set 1 (Mongolian Pantheon)

- Set 2 (Roerich Museum)

- Set 3 (300 Icons)

- Group of Sets 4 (Palpung Composition re-constructed set)

- Group of Sets 5 (Kham, Tibet)

Maitreya, the bodhisattva of loving kindness and the Buddha of the next and future eon after the age of Shakyamuni Buddha. Maitreya is believed to currently reside in the Tushita Heaven and is typically depicted as having either a Bodhisattva Appearance or Buddha Appearance with all the typical characteristics.

Maitreya belongs to three iconographic groups: the Eight and Sixteen Great Bodhisattvas. He also belongs to the group known as the Buddhas of the Three Times - past, present and future (Dipamkara, Shakyamuni, Maitreya). These three Buddhas also belong to the larger group of One Thousand Buddhas of this Age.

In painting Maitreya is commonly depicted in bodhisattva appearance and is commonly found along with the other Eight Great Bodhisattvas in compositions with either Shakyamuni or Amitabha Buddha as the central figure.

"With the fire of great love burning the fuel of anger,

The light of pristine awareness removes the darkness of ignorance.

Heir to the Conqueror's Dharma, upcoming leader of beings;

To the one residing in Tushita, I bow." (Buddhist liturgical verse).

Groups & Number Sets:

- Buddhas of the Three Times

- Eight Great Bodhisattvas (& Sixteen)

- One Thousand Buddhas of the Age

Forms & Types:

- Maitreya in Bodhisattva Appearance (seated, vajra posture, standing)

- Maitreya in Buddha Appearance

- Maitreya as a Meditational Deity: Three Faces, Four Arms