TIBET

56 - ASIAN ART SOCIETY

15

GReen-bLUe VajraVidāraṇa 'THe vaJRa sUbdUeR of aLL'

Central Tibet Kagyü tradition Circa 1300 - 1350 C.E. Pigments and gold on sized cotton cloth. Surrounding top and bottom, coarse cotton homespun cloth. 15,5 cm x 12,5 cm Price on request

ObJeCt PReSenteD by:

Hollywood Galleries T.: +852 2559 8688 +852 2541 6338 E.: hollywoodgalleries@gmail.com W: www.hollywood-galleries.com

JULY 2022 - 57

Back inscription O namaśca a vajrakrodhāya | o hulu hulu tiṣ ha tiṣ ha bandha bandha hana hana am te hū pha

Vajravidarana is seated on a lotus throne with a white moon coloured top (representing his ultimate purity) which in turn is supported by two green-maned Tibetan style snow lions. This style of lion is considered by Tibetans to reflect their land, their martial spirit and in the Buddhist context, as protectors of the divine image they support. Vajravidāra a is decked in the finest silks, jewelled necklaces, and chiffon scarves as befits his magisterial person. A swag of luxurious silk hangs pendant from the front of his throne showing what might have been a golden crossed vajra similar to that held in his right hand. A crossed pair of vajras symbolizes Ultimate Power and this is an entirely appropriate motif for a deity such as Vajravidāra a. The red and blue-green stones studding his throne are also signs of his super-royal status. His extra large ear-rings have a twofold purpose. Firstly they are completely appropriate for a Royal being and secondly their size and weight which has stretched his ear lobes, would remind the viewer of the type of massive ear-rings worn even to this day, by yogic wanderers. This is a further hint to the viewer that it is only through such mental yoga practice that even a deity such as Vajravidāra a has attained his powers. Vajravidāra a's eyes are depicted in a state of samādhi (concentrated, focussed meditation) in which he looks inwardly at his mind and outwardly at his devotees at the same time. His head is held in a gentle attitude suggesting that the artist has ignored the text which says that he has a ‘wrathful smile' on his face. His five-pointed crown shows that he has completely mastered all aspects of the Five Aspects of Wisdom. Such crowns are worn also by ritual priests in Tibet and Nepal (as well as elsewhere in the Buddhist world) to signify that when teaching they are in fact emanations of perfect wisdom beings themselves. At the very top corners of the painting are shown two lamas belonging to the Kagyü tradition which was

58 - ASIAN ART SOCIETY

transmitted to Tibet in the 11th century by Tibetans who had studied in India under masters of the highest repute. The figure of Marpa (1012-1097) is central to this transmission. The school of transmissions which developed from Marpa gave rise to Karmapa hierarchs such as Dusum Khyenpa the First Karmapa (1110-1193) who is shown at the top left corner of the painting and the Third Karmapa, Rangjung Dorje (1284-1339) who is shown at the top right of the painting, both wearing the Black Hat traditional to the tradition.

JULY 2022 - 59

60 - ASIAN ART SOCIETY

16

aMoGHasiddHi ‘He WHo aCCoMPLisHes THaT WHiCH is MeaninGfUL’ seCTion of a RiTUaL CRoWn of THe ‘five viCToRioUs ones’

Tibet Early mid 14th - mid 15th century Pigment on multi-layered board 18 cm x 10 cm Price on request

ObJeCt PReSenteD by:

Hollywood Galleries T.: +852 2559 8688 +852 2541 6338 E.: hollywoodgalleries@gmail.com W: www.hollywood-galleries.com

JULY 2022 - 61

The form of Wisdom represented by Amoghasiddhi is regarded as a ‘summing up' of many aspects embodied in the other four Buddhas. He turns all our failings, especially greed and selfishness, into an allaccomplishing Wisdom - hence his name, ‘He Who Accomplishes That Which Is Meaningful'. Whereas certain of the other Buddhas represent very specific Wisdom aspects, such as Vairocana who embodies ‘Mirror-like Wisdom' in which delusion and ignorance are transformed into a stainless and pure wisdom, Amoghasiddhi is more ‘down to earth' and deals with the more basic mental poisons of a person greedy for anything that gives them a sense of ‘self' . Amoghasiddi's green colour reflects his position at the North of the ma ala of the five Buddhas. At the very top point of the painting is seen a grinning Garuda bird who is the vehicle on which Amoghasiddhi rides. In the center The Amoghasiddi is flanked with a pair of greenmaned snow lions, leogryphs, white elepants, and at the bottom there are two birds which probably are the mythical Kalavinka birds.