Ⅲ . Bodhisattvas For a general discusslon of Bodhisattvas, see page 120. 169 ( 19a ) Bodhisattva Central Regions, Tibet Yarlung dynasty, circa first half of the 9th century Copper alloy with insets, cold gold paste, and pigments H. 25 " ( 64.5 cm) Private Collection Despite the coppery sheen on much the dhoti between the legs and in the of the surface, this sculpture, probably long ends 0f the ″なのカ観 (the chest Avalokiteshvara, is likely a rare survival shawl, which is shown here reduced to from the latter part of the Yarlung a flat band that has been tied and has dynasty. lt has the character of a Tibetan slipped down 10W on the thighs) relates creation following well-established to Nepalese examples datable to ca. Nepalese forms. Every aspect of the the 7th to 9th century, such as the work points tO a date ca. 9th century Bodhisattvas in the stone stupa at rather than later. The body has a solid, Dhvaka Baha in Kathmandu. The shape substantial, naturalistic mass COIISO- of the face, the eyes, eyebrows, nose, nant with the Tang-period sculptures and mouth are a11 similar tO the of China and Central Asia (7th—9th Padmapani of the stone stupa at Sigha century) and is related tO the sculptures Baha in Kathmandu of ca. 8th century. of Kachu monastery of ca. the second However, rather than the sweet, relaxed quarter of the 9th century (Vitali, 1990 , expression 0f the Nepalese style, this p. 22 , pls. 5 ー 10 ). Although it has more Tibetan statue has a tight, serlous, muscular definition than the Kachu slightly stern expresslon, echoing in a Bodhisattva sculptures, which are subtle degree the 。、 sour" expresslon closer to the forms of the 9th-century known in mid- to late-Tang Buddhist Dunhuang Bodhisattvas in the well- sculptures of the 8th and 9th centunes. known group of banner paintings (of Neither hair crown IS overly large. which No. 20 is one) than to Nepalese The crown design with double pearl sculpture, the degree of dense solidity band close to the forehead and curling of form—distinctly different from flat tendrils supporting a five-gemmed the greater emphasis on shape in ornament are forms relatable tO the later sculptures—is the important jewels of 9th-century Nepalese statues distinguishing factor in all these 9th- (Pal, 1975 , fig. 69 ). The earrings are century examples, including this rare compact and heavy and the ears lack Bodhisattva. the attenuation Of later styles, even Though fashioned after the graceful those of the 1 lth century, as seen in NO. stance ofNepalese images Of similar 28 and text fig. 7. The usage of small type, this Bodhisattva has a stiffness pearls in the necklace is a trait Of the most relatable tO the Kachu sculptures. Kachu sculptures; the insets relate well lt lacks the refinements generally seen to examples in Nepalese sculpture 0f in later Tibetan sculpture, such as the ca. 9th century and appear as well in Narthang Maitreya Bodhisattva of the 9th-century banner painting figures ca. 1093 shown in text fig. 7 , and the from Dunhuang already mentioned. weighty mass IS without emphasis on The image appears at present tO be a the beauty of shape and slightly inflated rare metal Buddhist sculpture from the form characteristic Of Tibetan sculptures Yarlung dynasty and, as such, can be of the 1 lth century and later. The 100Se regarded as a cherished treasure Of the movement in the riblike hem folds of early Tibetan civilization. 0 Supplement ・ 416

173 ( 29b ) Shadakshari Avalokiteshvara Central Regions, Tibet Second half of the 13th to first half of the 14th century Tangka; gouache on cotton 22 x 19 " ( 56.5 x 50.2 cm) The Zimmerman Family CoIIection The white, four-armed Shadakshari Avalokiteshvara, holding rosary, lotus, and the wish-fulfilling gem, wearing robes of dark red, green, and blue, and adorned with strikingly bo 旧 go 旧 ornaments, S1tS on a l()tus Whose Stem sprouts a scrolling floral 〃じ ea 〃 . TO either side within the large red mandorla sit a two-armed golden Bodhisattva and a four-armed white Bodhisattva. TWO lamas, possibly Kadampa, sit on each side above. Along the uppermost border are, from left to right: ManJushri, Vajravidarana, Ushnishavijaya, two- armed Kalachakra, Vajrasattva ()n the center), Shakyamuni, two-armed Hevajra, white Acala, and blue Vajrapani. The side borders from the top have four-armed white, yellow, red, and blue Bodhisattvas seated facing outward away from the maln lmage. Green Tara (left side) and White Tara (right side) complete the ensemble at the sides. Across the bottom row from the left are the donor and various protec- tor and wealth deities: Vaishravana, Acala, Jambhala, six-armed MahakaIa, MahakaIa as Lord of the PaviIion, and Penden Lhamo. AII the small figures appear within red niches with golden rlms, and a fine red linear cloud pattern fills all the spaces around them. The style, which has both grace and vigor, is related to NO. 231 , but has more loosely portrayed robes. Similar floral scroll designs appear in late-13th-century tangkas and in the early-14th-century wall paintings at Shalu. Though the provenance Of this style is not yet clear, it is a maJOr style possibly associated with styles from Eastern Tibet. Supplement ・ 420

135 Shakyamuni Buddha ⅲ Vajrasana Khara Khoto, Central Asia Before 1227 Tangka ; gouache on COtton 31 防 x 20 % ″ ( 80 x 52.5 cm) The State Hermitage, Leningrad Lit. : OIdenburg, 1914 , no. 1 , pp. 96 ー 97. This icon depicts fifteen figures, repre- sented in four iconographic groups. The central deity is most probably Shakyamuni Buddha, seated in the diamond posture, making the earth-witness gesture with his right hand, and holding his left hand flat on his lap in the contemplation gesture. The 〃訪〃なん protrusion of the Buddha is not topped by a red jewel (the layer 0f paint may have worn off), although the 〃訪ⅲ訪ぉ of the five Tathagatas in the top row have such marks. The Buddha's robe is Of one piece, not a monk's patched robe. lt is edged with floral ornamentation ( 135.1 ). There are no wheel marks on the palms and feet of the Buddha. The Tathagata in the center Of the top row iS Vairochana, the paradigm Buddha of the Avatamsaka (Garland) Sutra. This recalls the tradition that Shakyamuni taught this sutra non- verbally to the gods and Bodhisattvas at Bodhgaya, during the time immediately after his supreme enlightenment, while manifesting himself as Vairochana. On the Buddha's right side is the Bodhisattva Maitreya, holding his right hand down in the boon-granting gesture, and holding in his left hand the stem of a small white lotus that floats at his shoulder, with a tiny golden vase restlng on it. On the Buddha's left side is a standing golden Bodhisattva, his left hand empty in the boon-granting gesture, and his right hold- ing the stem Of a white lOtus floating over in the earth-witness gesture and his left the upper crosspiece 0f the throne back. ln his shoulder, on which lies a small, golden hand in the contemplation gesture; the the corners Of the central portion Of the vaJra scepter ( 135.1 ). He may be a form of third, and the central Buddha in this icon, tWO green three-leaf plants with red AvaIokiteshvara ()r else VaJrapam, or even tangka, is Vairochana, the Tathagata 0f Samantabhadra, the paradigm B0dhisattva cores a re dep iC ted. the center, with bOth hands at his chest in of the Avatamsaka). Avalokiteshvara and There are five Tathagatas in the top row, the unity gesture ( レ可 - / 〃〃 4 〃Ⅲ市の , Maitreya here do not differ overall from the Five Transcendent Buddhas ( 135.1 ). his right index finger raised, his left hand They are all yellow and differ from one the forms Of these Bodhisattvas in Other closed in a fist; next is Amitabha, the another only in the position Of their hands. icons from Khara Kh0to. The only differ- Tathagata of the west, with both hands in ence iS Avalokiteshvara's implement. Here Their throne backs are alternately green the contemplation gesture; and the last a golden vajra lies on the white lotus and blue. Here the Buddhas are clearly Buddha must be Ratnasambhava, the Tath- blossom, an unusual implement for AvalO- identifiable, moving from left to right: the agata of the south, with his right hand at kiteshvara. The golden vase on Maitreya's first Buddha holds his right hand at his his chest, palm inward, possibly a variant lotus blossom is the standard symbol of chest making the fear-not gesture, and is Amoghasiddhi, the Tathagata 0f the north; of the discernlng gesture. this Bodhisattva ( 135.1 ). HaIf-bird half- Five dancing goddesses are depicted in human Gandharvas stand in symmetrical the second is clearly Aksh0bhya, the the lower row. AII of them are without poses on either side 0f Buddha's head on Tathagata of the east, with his right hand 一 0 ' 、 0 谷ッ 341 ・ CataIogue: Perfected Worlds

35 and 36 Manjushri and enlightenment and the theme of this book. kiteshvara embody the essence of respectively, Manjushri and Avalo- Bodhisattvas of Wisdom and Compassron Mongols to Tibetan Buddhism. As the to the final phase of the conversion of the visit of the Third Dalai Lama, which led made famous in 1578 by the momentous geographer 0f Central Asia. Chahar was moneer Swedish adventurer and Sweden in the 1930S by Sven Hedin, the lnner Mongolia. They were brought to sculptures come from a temple in Chahar, These two magni ficent, monumental FOIkens Museum Etnografiska, Stockholm Both H. 71 ″ ( 180.3 cm) inset with gems Gilt brass, with lacquer and pigments, Circa 1700 Chahar, lnner Mongolia Shadakshari Avalokiteshvara Manjushri, the Prince ofWisdom, holds the sword Of discriminating intelligence and the stem Of a lOtus that supports the text Of the Transcendent Wisdom Sutra. Avalokiteshvara's Shadakshari (The Six- Syllable One) form personifies the liberating blessing Of the mantra OM MANI PADME HUM ("Hail the jewel ⅲ the lotus!"). This magical sound is believed to reverberate throughout the entlre unlverse as the triumphant power Of freedom, emerging from the Bodhisattva's infinite VOW tO save all beings. He has one face, four arms, and tWO legs crossed in Catalogue: Sacred History ・ 144

153 Pure Land of Manjushri Eastern Tibet ⑦ Late 18th to early 19th century Tangka ; gouache on COtton 29 防 X21 % ″ ( 74.9X53.3 cm) Virginia N'1useum of Fine Arts, Richmond. Gift of the Honorable and Mrs. Alexander W. Weddell Manjushri is the Bodhisattva of Transcendent Wisdom. The youthful prince carries with his right hand the double- edged sword able to cut through illusion and with his left hand a blooming lotus that s upports a volume of the Praj na- paramita Sutra. He iS depicted as a youth of sixteen years ( 153.1 ) in order to convey the Buddhist insight that wisdom is not a matter Of mere expenence or years, but results from the cultivation Of intellectual gen111S, which can penetrate directly tO the bedrock of reality. Wisdom is the most honored virtue in Buddhism, called the Mother of all Buddhas, since only wisdom makes possible the great bliss of total freedom from all suffering that is the goal of all living beings. Thus, Manjushri is one of the most important of all Buddhist deities, the veritable god of wisdom and herald Of ema ncipation. ln the sutras, Manjushri has a Pure Land in another umverse, wherein he manifests himself as the Buddha he actually is. He is in fact a perfect Buddha whO vowed tO emanate all over the umverse as a Bodhisattva tO put the hard questions t0 the Buddhas on the topics 0f voidness, freedom, and the nature Of the self. But in the popular Tibetan magmation, Manjushri has his earthly Pure Land at the magical Five Mountain Paradise (Ch. Wutaishan; 工 Riwo Tsenga) ln northeast China, one Of the most lmportant pilgrimage places for Tibetan, Mongolian, and Chinese Buddhists. This 153.1 painting depicts the ⅵ引 on 0f Manjushri and his Bodhisattva companions that, it is To the left and right are the Medicine Padma Sambhava indicates its probable Buddha and Shakyamuni Buddha, and said, can be seen there even tO this day by connection With a Nyingma monastery or below them are Amitayus and Ushnisha- those of great purity of heart. patron. The style has developed from a This painting depicts the same form viJaya. On the lower part outside the combination Of idioms, such as those seen courtyard appear from left t0 right a Of Manjushri as the large statue in the in the eight-armed Green Tara ( No. 123 ) collection of the FoIkens Museum Green Tara, the god of wealth Kubera, of the Eastern Tibetan school and the Los Etnografiska ( No. 35 ). The Bodhisattva is Vasudhara, and a White Tara. Within the Angeles County Museum Kunga Tashi in hiS paradise, on hiS lOtus seat a courtyard are five white and three dark ( No. 65 ) from the central regions. lt also courtyard with a palatial structure and Bodhisattvas, seated on lOtus pedestals. has some relation with the Narthang walls behind. Beyond the golden roofs, the A simply organized painting, it is neatly wood-block style of ca. the 1730S , but it diamond-pattern ground of the pure Land patterned, and softly and harmoniously has a simpler and more fluid line that IS seen, and various figures drift against colored in green, blues, and reds. lt has a relates it most closely with the Milarepa the dark sky. Among these, Padma Sam- sensltive, fluid, and precise line. lt iS a rare paintings in Stockh01m (Nos. 82 , 83 , 152 ) , bhava is in the center, flanked by his two example 0f Manjushri's Pure Land, which and the Panchen Lama lineage painting consorts, who 0 飛 r him food and elixir. iS not commonly seen. The presence Of (No. 99 ). 371 ・ CataIogue: Perfected Worlds 9 を 0 0 当、ト

Bodhisattvas Bodh 、、 attva" 0000 、、。 h00 ' ' ( , 0 な " 0 ) of 、、 enlighten 00t " ( わ od ん ). lt refers to any person, male or female, human, animal, or divine, WhO has conceived the will tO unexcelled perfect enlightenment in order t0 save all beings from suffering, and has vowed tO persist in that quest for as many lifetimes as it takes tO accomplish it. lt is said that counting from the moment he conceived the spirit Of enlightenment ( d ん訪襯の , Shakyamuni Buddha took three immeasurable eons 0f lifetimes to attain Buddhah00d. B0dhisattvas are truly messlanic figures, spiritual heroes and heroines willing tO sacrifice themselves for Others life after life. At the same tlme, they are keen t0 develop the wisdom that understands reality and the art to be effective ln saving beings. The Universal VehicIe (Mahayana) sutras that began to emerge in lndia from the lst century BCE elevate the messianic ideal Of the Bodhisattva above the lndividual VehicIe (Hinayana) ideal of the self-liberated Arhat or saint. Some Bodhisattvas are still ordinary beings, ones whO malntain the spirit Of enlightenment. Other Bodhisattvas have become highly developed. Their goodwill toward beings drives them to develop godlike powers, so that they become almost indistinguishable from a Buddha in their ability to benefit Others. ・ / can refer tO these as human or histor1C Bodhisattvas and celestial or angelic B0dhisattvas, respectively. ThiS section describes paintlngs and sculptures Of a few Of the most prominent and popular Bodhisattvas active in Tibetan Buddhist history and art, including Vajrapani, Green and White Tara, Avalokiteshvara, Manjushri, and Maitreya. The works are from var1011S regrons and from periOdS that range from the 9th through the 18th century. The array of sculptures presented here is intended t0 suggest a Tibetan temple altar and t0 offer a wide range 0f stylistic and regional examples from both inside and outside Tibet. ln the early sculpture of the 1 lth to the 13th century there are pronounced regional styles that depend largely on the lineages of schools of lndian art, notably those 0f the Pala dynasty in northeast lndia and 0f Kashmir. Sculptures from Western Tibet during the 10th [ 0 the 12th century possess particularly distinctlve styles, usually related t0 the Kashmiri and Himachal Pradesh sculptural traditions. lmages of PaIa lnsmratlon seem more common tO the central regions, but little is yet known about the sculptures from this area during these early centuries. Old photographs of Tibetan temple altars taken by Tucci show a profusion of imported sculptures Of this periOd. Some of the works in this section were made outside 0f Tibet, but in some way, by either style, icon- ography, or usage, are strongly associated with Tibet. They reveal the complexity Of the interrelationships between Tibet and neighboring Buddhist lands. A few works in this section specifically point to Tibet's relationship with China. The Yongle sculptures ( No. 30 ) , for example, were gifts t0 prominent Tibetan lamas by the third Ming emperor, ruling during the Yongle period ( 1403 ー 1425 ). Mongolia and China became lncreasingly important in Tibetan history during the 16th to the 18th century. Two excellent Maitreya Bodhisattvas (Nos. 32 , 33 ) reflect the Mongolian and Tibeto-Chinese styles of the late 17th and mid-18th centuries respectively. The huge sculptures brought by Sven Hedin from lnner Mongolia offer spectacular examples Of the impressively large altar images characteristic of Tibetan temples (Nos. 35 , 36 ). Paintings in this part focus on a few especially fine examples from the central regions of Tibet ( NO. 24 ) and Eastern Tibet ( No. 27 ) from the early and later periods, respectively. The Ford Green Tara painting is not only exquisite in style, but itS subject matter singles it out from Other survlvlng early pamtings from the central regions, ln which Bodhisattvas are scarcely seen as the main image in survivmg palntings. 、 'lore than likely it can be considered tO be a tangka 0f the Kadam Order. Also, certain important works in lnd0-Tibetan style from places outside Tibet proper, but under Tibetan cultural influences, are represented. These include the rare examples from Dunhuang ( NO. 20 ) of the 9th century and from Khara Kh0t0 ( NO. 21 ) 0f ca. late 12th century. BOth sites were important Buddhist centers on the Central Asian borders of China. Khara Kh0t0 was a garrison town of the Xi Xia kingdom from the latter part 0f the 1 lth century until it was razed by the forces 0f Genghis Khan in 1227. The works from Khara Khoto were recovered early in this century by P. K. KOZIOV and are now a part 0f the State Catalogue: Sacred History ・ 120

34 Eleven-Faced, Eight-Armed Avalokiteshvara China 17th century Tangka ; gouache on COtton 90 x 52 % ″ ( 229 x 133.8 cm) Museum Of Fine ArtS, BOSton This handsome and impressive pamting depicts one of the most powerful forms of the Bodhisattva Avalokiteshvara, the archangel of compassion in Mahayana Buddhism. ln this form, the Bodhisattva has eight arms. HiS first tWO hands are held in front of his solar plexus, holding the mag1C wish-granting gem, which stands for the spirit Of enlightenment that consists Of love and wisdom. TWO Of his remaining three right hands hold a rosary for reclting OM MANI PADME HUM and a wheel of combined spiritual teaching and benevolent governance; the third reaches out in the boon-granting gesture. His left hands ho 旧 a white lotus in full b100m , symbolizing that the flowering of enlightenment lies in compassionate activity, a bOW and arrow symbolizing meditation and wisdom, and a vase Of elixir of immortality, symbolizing that enlightenment results in boundless life. His enormously elongated head has ten faces: front, right, and left faces on three levels, and a topmost front face. These faces symbolize that Avalokiteshvara has mastered all ten 0f the B0dhisattva stages, each face representing an attitude dominant on a particular stage. Three Of the faces are lOVing, three are peaceful, and four are fierce. On top of the whole stack there is a small separate head Of Buddha Amitabha himself, symbolizing that Avalokiteshvara is really a Buddha, that in fact he is the compassion of all the Buddhas. This magnificent head expresses the multidimensionality of the B()dhisattva's compassionate awareness, that he can "manifest whatsoever needed tO tame whomsoever," as hiS many arms express his extensive po 、 ver tO help beings become free from the sufferings of samsara, or egocentrlC eXIStence. The Skin of an antelope is draped around his chest, referring tO hiS ascetic expenence. ()therwise, hiS garments and ornaments are typical 0f royal or celestial Bodhisattvas. The various layers of his skirtlike cloth have detailed designs in gold—auspicious symbols on the upper part, and over the legs, coiling dragons ・ vital form of Chinese Buddhist art in the symmetrical and monumental, AvalO- Ming and Qing periods. Several Ming and kiteshvara is portrayed in a gentle style with predominantly pastel colors. This and all the Manchu Qing emperors had a strong interest in Tibetan Buddhism. The the refined detail of the flowers, the oddly lmperial and temple workshops employed sh 叩 ed gemlike rocks, and the form of the pedestal and h 引 0 suggest styles 0f the late many Tibetan and Nepalese artists, whO Ming period (early 17th century). This often directly taught their Chinese colleagues and disciples. Hence this style work is Chinese, and is generally related to of art can usually be included in both the Tibetan Buddhist art of this time. This Tibetan-related style is probably the most Chinese and Tibetan traditions. 143 ・ CataIogue: Sacred History

Glossary 389 ・ Glossary Abhirati. One of the important Buddha lands or Pure Lands in Buddhist cosmology. lt is de- scribed in the Vimalakirti Sutra, and iS the abode of the Buddha Akshobhya. adamantine. An adjective used tO translate vajra, the Sanskrit word for thunderbolt, or dia- mond. lt refers to something overwhelmingly powerful and durable, which can usefully sym- bOlize ultimate reality and by extension direct knowledge of ultimate reality. 立ビ 4 な 0 vajra. Akshobhya. Literally, Unshakable, he is the lord Of the Vajra clan and occupies the eastern direc- tion in many popular tantras, or the center ln the advanced Unexcelled Yoga tantras (switch- ing with Vairochana). Aksh0bhya represents the transmutation Of delusion ()r hate) intO mlrror wisdom ()r reality wisdom), and the purity 0f the aggregate. His C010r is white ()r blue). 立ビ Abhirati; Five Transcendent Buddhas. Amitabha. Literally, lnfinite Light, he is the Transcendent Buddha of the west, and lord of the LOtus clan. He represents the transmutation Of lust intO discrimrnating wisdom, and the purity of the conceptual aggregate. His color is ruby. Associated with the Buddha Amitayus (lnfinite Life) and the Bodhisattva Avalokite- shvara, he is widely known outside Of tantric Buddhism as the Buddha of the BIissfuI Pure Land in the west (Sukhavati), and is the object Of devotion Of the numerous Pure Land be- lievers throughout ASia. See 4 な 0 Five Transcendent Buddhas; Sukhavati. Amoghasiddhi. Literally, Unfailingly Accom- plished, he is the Transcendent Buddha 0f the north, and lord of the Action clan. He represents the transmutation Of envy intO all- accomplishing wisdom, and the purlty 0f the performance aggregate. HiS COlor is emerald. 立ど 4 な 0 Five Transcendent Buddhas. Apocalyptic Buddhism. 立 Three Vehicles. archetype; archetype deity ( 工 - 川 ; S. なみ - イれ ). An embodiment Of enlightenment, a Buddha form, used by a tantric practitioner ln contemplation tO model his or her emotlons, ln- sights, and VOWS intO optimal function. Certain such forms were instrumental in the enlighten- ment experiences Of many Great AdeptS and have been developed for later use in groups 0f texts, 引 SO called tantras and tantric commentanes. Arhat. A Buddhistsaint, one who has fully realized selfless reality, thus being assured of at- taining nirvana at death. This is the idealtype of the Buddhist lndividual Vehicle, which does not focus on the distinction between Arhat and perfect Buddha. 454 れ 4. The Sanskrit word for pose, or posture. pratyalidhasana. The warrior posture, as adopted by the fierce deities. Bhadrasana. The throne-sitting pose, called the benevolence POS- ture, with tWO feet down on the ground, as iS characteristic Of the Bodhisattva Maitreya; his sitting style is called 、。 good ' ' ( わ房市の as it rep- resents his willingness t0 get up and go forth into the world for the benefit of beings. Pad- masana. The lotus posture, the cross-legged sitting posture used in meditation. Lalitasana. posture Of royal ease, with one leg drawn up akimbo, one leg relaxed and extended' as the princely B0dhisattvas sit. Vajrasana. The dia- mond posture, the same cross-legged meditation posture as above, but in particular that pose as adopted by the Buddha under the bodhi tree during the final day before his enlightenment. Atisha. Born a prince of Bengal, in 982 CE, he was a famous Buddhist scholar and spiritual master. He iS credited with a seminal contribu- tion tO the renalssance Of Buddhism in Tibet in the mid-l lth century. His disciple Drom Tonpa ('Brom sTon) was the founder of the Kadam Order, forerunner of the GeIuk Order. Avalokiteshvara ( 工 Chenrezi ). The Bodh isattva of Compassion, he is one of the best-known de- ities in Asian Buddhism, and the patron deity or archangel of Tibet. Ava10kiteshvara appears ln many different forms, with varying numbers Of limbs, sometimes mild and sometimes fierce. Bardo. 立ビ between. Beatific Body. 立ビ Three Bodies. between ( 工わ 4 た do ). Buddhists consider life to be continuous after death, with a between-state, a dreamlike realm in which the transmigrating soul has var1011S expenences between death and subsequent rebirth. BhaishaJyaguru. 立ビ Medicine Buddha. bodhi. The Sanskrit word for enlightenment, a complete and precise understanding Of the na- ture Of reality and a tOtal sensitivity tO the condition Of Others; perfect wisdom and univer- sal compassion. BOd わたわ″ is the spirit Of, or will to, enlightenment. When 2 person develops the unlversal, messlamc motlvatlon Of wishing [ 0 become someone WhO can perfectly satisfy the needs 0f all beings, he or she conceives this spirit, thereby becoming a B0dhisattva. A Bodhisattva is a person who lives by the spirit of enlightenment life after life, dedicated to be- coming a Buddha for the sake of all beings. sometimes even after reaching that go 引 , a Bud- dha will emanate incarnatlons intO the world as Bodhisattvas, ln order tO get nearer tO sentient beings and help them more effectively. The celestial Bodhisattvas such as Avalokiteshvara, Manjushri, Tara, Vajrapani, and Samantabhadra may be considered Buddhas acting as B0dhisatt- vas in order tO help sentient beings. Bon. The other major, organized religion in Tibet besides Buddhism. Based on pre-Buddhist religious ideas, some shamamstic, some perhaps Of lranian descent, Bon created a large litera- ture, a complex institutional and a systematic path 0f practice, all in close parallel with Tibetan Buddhism. Buddha. One who has become perfectly en- lightened. 立ビ 50 bodhi; Shakyamuni; Tathagata. central regions Of T1bet. The regions south- central Tibet comprising the areas 0f U and Tsang. Chakrasamvara. S ビビ Shamvara. Chan. The Chinese Buddhist precursor 0f (). ) zen, the contemplative tradition known for itS sudden-enlightenment theory and practice.

130 鴦イ sa of the Eleven-Faced, Thousand-Armed Avalokiteshvara Tibet 17th to 18th century Clay 8 防 x6x1 ″ ( 21.6X15.2X2.5 cm) Mr. and Mrs. John Gilmore Ford 4- な 4 are votive tablets made of clay. They are formed by pressing the clay into a mold that is carved with figures and lnscriptions. They are commonly used by pilgrims as offerings at shrines. Stupas ( C わう〃 5 ) and statues Often contain large numbers Of な 4- な 4 as offerings. This unusually large example is a most extraordinary and rare work showing five lmages 0f the eleven-faced, thousand- armed Avalokiteshvara. This exceedingly complex image is handled with dexterity Of detail in each Of the five representations. They probably represent the Bodhisattva in the four cardinal directlons and at the center, as encompasslng all space. On the central axis above the Bodhisattva is Buddha Amitabha, the root Buddha of Avalokiteshvara, seated on a lion and lotus throne. Flanking the stupa below are two small deities: Manjushri, the Bodhisattva of Wisdom, with his sword and book, and Vajrapani, the remover Of obstacles. Tibetan letters 6 Ⅱ the spaces around all the figures, and a lotus pedestal supports the entire configuration. The whOle cusped-arch rectangular shape is bordered by a raised rim, creating a protective frame, both of which are features seldom seen in the usual な 4- な 4 representations. な、レ Catalogue: Perfected Worlds ・ 330

28 Avalokiteshvara Western Tibet Late 1 lth to early 12th century Bronze, with copper and silver inlay H. 22 ″ ( 55.8 cm) Robert Hatfield Ellsworth Private Collection Lit. : Pal, 1978 , no. 107. Avalokiteshvara is the archangelic Bodhisattva of Great Compassion. His vast vows t0 save all beings are said by the texts tO be inconceivable.With his special mantra, OM MANI PADME HUM the jewel in the lotus!"), he travels to all realms Of the in hiS tireless quest to deliver beings from suffering. ln one of his special sutras, the Jewel-Casket Array (Karandavyuha), he actually descends to the hells of Yama. From the fingers of his thousand arms, maglC waters flowed and cooled the flames Of the molten iron realm. The Tibetans believe that the White Lotus of Compassion Sutra (Karunapundarika) records how he took a special VOW tO free the Tibetans, tO tame them and turn them away from their violent ways, and tO turn their land Of barbaric savagery into a land bright with happiness. With his female colleagues, Tara and Bhrkuti, and his fierce form Hayagriva, the Horse-Necked One, as well as many Other forms, this Bodhisattva IS probably the most universally beloved divine figure ⅲ Mahayana Buddhism. ThiS bronze sculpture is a handsome, relatively large standing figure. He can be identified as AvaIokiteshvara by the small lmage 0f Amitabha Buddha in his crown (supposed tO be a numature emanation Of the actual Amitabha) and by the full- blooming lotus he holds. ln the lndian fashion, the lotus springs from the pedestal and is held lightly in his left hand. His right hand, which, like the crown, has become a little bent, IS in the fear-not gesture ( 訪ん坦〃川市衂ⅲ which the hand is held up in front of the chest, palm out. ln this representation he wears an antelope skin tied around his chest. lt is knotted in front, with the head of the hide covering his left shoulder. Along with his vigorous posture, the antelope skin imparts a slightly wild appearance to the gentle Bodhisattva, indicative of his ascetic qualities as a yogi (somewhat like Shiva, the Hindu yogic god). He also wears the usual crown and jewels Of a Bodhisattva, including a long, double-stranded chain, which encircles the image like a wiry Catalogue: Sacred History ・ 136