order described in the great collection Of evocations ( 覊 d 〃お ) revised by Sakya Kunga Rinchen (see introduction tO Ⅱ , Arhats). Beginning with the Arhat Rahula at the top, the sequence moves from one side tO the Other rather than in serial order (see diagram) : 1 ) RahuIa, the son of Shakyamuni, holding a diadem; 2 ) Chudapanthaka, in meditation; 3 ) Pindolabharadvaja, with a book and alms bowl; 4 ) Panthaka, holding a book; 5 ) Nagasena, holding a libation vase and a staff; 6 ) Gopaka, holding a book in his right hand; 7 ) Abheda, holding a stupa given to him by the Buddha when he went tO the country Of the demon deities ( 坦た訪 ) ; 8 ) Angaja, holding a fly whisk and incense burner; 9 ) Kanakabharadvaja, in meditation; 10 ) Vanavasin, holding a fly whisk ( 3.2 ) ; 11 ) KaIika, holding one or two earrings; 12 ) Vajriputra, with a fly whisk ( 3.2 ) ; 13 ) Bhadra, with right hand in the teaching gesture and left hand palm 叩 in his lap; 14 ) Kanakavatsa, holding the precious lasso ( 3.2 ) ; 15 ) Ajita, in meditation with his garment pulled over his head; and 16 ) Bakula, holding a jewel- spouting mongoose in his left hand. This set IS especially important because it is an early complete example 0f one 0f the mam cycles of Tibetan Arhats, possibly one associated with the Sakya Order, and each figure closely conforms to the established lconographic type. ln addition, each Arhat IS presented as an lnteresting, spirited personage, accompanied by a disciple and seated in a thronelike chair, each with its own distinctive style. With loosely draped garments associated with the Chinese type, fancy chairs, and unusual rocky settlngs, These, however, clearly reveal a derivatlon Nepalese styles. The multistage, bejeweled this style of Arhat depiction derives ln from Southeast ASian and lndian throne platform with its crouching lions IS large part from the painting traditions Of types. lt would appear that this type of covered, like the throne backing, with Chinese Buddhist art of the Southern Song chair-throne style has made a circuit, over threadlike gold lines in extremely delicate period, such as those known in the famous tlme and with some stylistic changes, from floral patterns of the highest refinement— scroll painted by Zhang Shengwen and lndia and Southeast Asia through China to an especially notable feature 0f this dedicated by the king of Yunnan in 1180 Tibet. A similar kind appears with some (Chapin and Soper, 1972 , pls. 12 ー 16 , palntlng. sculptures dating tO the second quarter Of By the geometric clarity Of its structure, 19 ー 23 ). the 15th century in the Peljor Chöde at beauty of solid color, and delicate linear Hvashang ( 17 ) and Dharmatala ( 18 ) , Gyantse in Tsang (text fig. 22 ). both special adjuncts to the group of designs, this intricate throne ensemble not A gauzelike canopy appears in front 0f 0 司 y affords a controlled, though actually Arhats in Tibetan art since at least the late the upper panel 0f the throne above the 14th or early 15th century and usually spaceless, center for the maln triad, but Buddha's head. To each side, on light numbered as the seventeenth and alSO creates a stark contrast with the clouds silhouetted against the dark sky of eighteenth Arhats (see Nos. 14 and 17 ) , nervous, fluctuating movements, muted appear t0 the left and right above the pairs deep blue clouds, a tiny celestial goddess C010r tonalities, and naturalistic settings Of of richly bedecked Heavenly Kings of the appears holding a mmuscule canopy. Two the encompassing scenes Of Arhats, Four Directions at each Of the bottom more goddesses flank the throne's pinnacle, guardians, ausp1Cious deities, and donors. below another canopy of delicate swags corners ( 19 , 20 , 24 , 25 ). Hvashang, the Almost as in another world, the Arhats and pearl festoons. They are kneeling on chubby dark attendant, is joyfully spread around the central group above and red clouds and pourlng water over the encumbered With numerous children. tO the sides in rather large, individual Three Jewels (Triratna) emblem at the pin- Dharmatala, the messenger of the Arhats, square spaces defined by surrealistically nacle of the throne. Except for the unusual carnes a backpack 0f books and is mobile and sharp rock formations and scroll design of the base, the pedestal is accompanied by his tiger as a small figure simple yet individualistic trees ( 3.2 ). of Amitabha, the Buddha 0f lnfinite Light, derived from styles known in 14th- to Although there is some slight vanatlon, 15th-century Tibetan paintings related to floats ln a circle above. ln the center at the this cycle 0f Arhats appears to follow the い二 Catalogue: Sacred History ・ 78

三をグ 0 啾 ( ダー、靉当にを黶第。 134.4 134.5 gYob-'dzin [Yobdzin] with a club, and red there is a white Chulha (Varuna), holding IS not mentioned in the text: he hOldS a rDzogs-byed [Dzogjey] with a fighting a snake lasso and sitting on a sea monster. disc with the Chinese character , "the discus. AII these deities hold these ln the northwest, there is a smoky Lunglha sun," cut into it. NO. U-1191 is evidently implements in their right hands and a (Vayu), holding a banner and sitting on a Prthividevi. She sits on a pig with a vase ln mongoose in their left hands. ' deer. ln the north, there is a yellow Nöjin her left hand. The last sculpture in the AII the Hermitage JambhaIas hold a (Kubera or Yaksha), holding a mongoose Hermitage group of World Gods is a mongoose in their left hands as well and sitting on a horse. ln the northeast, chariot with a horse ( NO. U-1195 ). lt ( 134.3 ). As for their right hands, one there is a white Wangden (lshana), holding is unknown whether there was any deity Jambhala from the Hermitage mandala a trident and sitting on his bull, Nandi. in this chariot, b ut it cannot be lndra holds a vaJra in his right hand ( No. Finally, in the west-southwest, there is a or Rakshasa. various differences U-1158 ). So he is definitely Jijig. Six yellow Sailhamo (Prthividevi), holding a between the text and the Hermitage deities shOW the threatenlng gesture (the vase and sitting on a boar. assemblage open the possibility that the 4 ⅲ川〃市 4 ) with their right hands, Only one of the Hermitage WorId Gods sculptures originally represented the larger holding no implements. Four Jambhalas can be Brahma ー No. U-1190. The four- traditional group known as the Fifteen hold an object resembling the vajra handle faced god sits on a goose. According to WorId Gods, which includes five more Of some attribute in their right hands. TWO the text, his implement is a wheel, but the deities along with the above ten: Surya, the of these hands (Nos. U -1151 , U-1155 ) Hermitage Brahma has no implements at sun, WhO rides a horse-drawn chariot; have a small opening that can be used for all. One of the deities has been lost and its Chandra, the moon; Vishnu, who rides a inserting the upper part Of an attribute empty pedestal ( NO. U-1192 ) could belong peacock and holds a discus; Ganesha, who into them. The last Jambhala ( No. U- to either lndra or Rakshasa. Anyway, one rides a rat; and Vemachitra, who holds a 1148 ) holds his right hand at his breast Of these tWO deities is absent in the S 、 and alSO rides a chariot. with his palm turned upward and his Hermitage mandala. No. U-1193 is Agni, The situation is the same with the eight fingers slightly bent. There is an opemng who sits on a goat, holding what appears Buddhas and the sixteen Bodhisattvas. in his palm for an implement. tO be a vase with a spout instead Of the Their descriptions in the text fail to help A companson of the iconography of the usual medicine cake. Yama SltS on a identify many Of the images with certainty. buffalo ( No. U-1186 ) , but holds a skull Ten World Gods with their images in the The reason for all these differences mandala is no less interesting ( 134.4 ). bOWl instead Of a mace. as iS said unclear. For the time being it can only be According tO the text, in the east are in the text, S1ts on a sea monster, his left suggested that the Chinese masters WhO yellow Tsangpa (Brahma), holding a wheel hand empty and his right hand broken; he cast this set in the middle of the 18th and sitting on a goose, and white Gyajin might easily have held a snake lasso in the century, probably under the supervlsion of (lndra), holding a vaJra and sitting on an broken hand. Vayu ( No. U-1195 ) sits on a the Jangkya Hutuktu, did not use the elephant. ln the southeast, there is a red deer, and his hands are empty, while he 犬 g ァ〃 d 5 た〃れ房 text. lt is possible Melha (Agni), holding a medicine cake and should hold a banner. Besides a mongoose, that a Gelukpa text was used as the source sitting on a goat. ln the south, there is a the Hermitage Kubera ( No. U-1189 ) , for the iconography of the deities. Both the blue Shinje (Yama), holding a mace and whO is sitting on a horse, hOlds a trident. Fifth DaIai Lama and his regent, Desi sitting on a buffalo. ln the southwest, No. U-1187 is probably lshana. The deity Samay Gyatso, wrote about this mandala, there is a dark red-black Sinpo (Rakshasa), and developed various modified in the Hermitage mandala sits on an holding a sword and sitting on a zombie unknown bird with a long flat beak. arrangements. ( 工 ro 〃 & "risen corpse"). ln the west, Whoever this deity may be, his implement G. Leonov Catalogue: Perfected Worlds ・ 340

112 Six-Armed Mahakala Central Regions, Tibet; probably Tsang Late 17th century Tangka; gouache on COtton 28X21 防″ ( 71.1X54.6 cm) Robert Hatfield Ellsworth Private Collection Lit. : Tucci, 1949 , pp. 184 ー 87. 0 This huge, lumbering, six-armed Mahakala, his entourage, and three Gelukpa lamas coexist in an ethereal world of black cosmic space and pastel flames. lt is a masterpiece of the mys- tical black tangkas. The black color here reflects the ultimate reality, voidness, the Truth Body of enlightened beings. Beings enJOYing the awareness of this reality are only moved tO manifestation by compassion, which is the source Of the striking beauty of their forms and surroundings. And yet these figures and their settings are gruesome and terrifying. They proJect an aura of overwhelming power in order tO protect practitloners. They work to eradicate unwanted obstructlons tO the realization Of the enlightened mind. According to Tucci, this form of Mahakala follows the evocation written by the yogi ascetic Shavaripa following his ViS1()n a cemetery in South lndia. The lineage of this practice 112.1 descended down from lndia to Tsong shell pattern, a type seen in other black depicted in splendidly pale yellow and Khapa, the lama above the central deity. orange with light green accents. They tangka paintings 0f the late 17th t0 early The Great Black One is shown with six identify the painting as a work of the 18th century ( NO. 107 ). arms, the two uppermost hands holding Mahakala's major attendants accompany Geluk Order. the feet of a flayed elephant skin, at the Tucci, who has discussed this painting him here. At the bOttom center is Dugon same time holding a skull rosary in the in detail, writes that he acquired it in Trakshad riding a black horse, holding a right hand and a trident in the left. The Gyantse from monks from the Tashi spear and a skull bowl, and wearmg a middle right hand holds a 川 4 川 drum; Lhunpo monastery, the famous monastery long silk robe. To the left bottom is the the middle left holds a lasso. The two of the Panchen Lama near Shigatse in ogre ( た訪の KshetrapaIa on a black bear, front hands hold a vajra chopper in the Tsang. lt is a fully developed tangka of the holding a vajra chopper and a skull bowl. right and a skull bowl containing a heart black style. The strength of the drawing To the right is a two-armed Penden in the left. He wears a brahman cord and its similarities with the Butön tangka Lhamo on a wild ass, holding a notched made of a large pale green snake twisted of the late 17th century ( No. 67 ) , and wooden club and a skull bowl. Just under into 旧叩 s over his belly. A garland of big with the drawing style, coloring, and the lamas are the red ogre Jinamitra severed heads is strung around his body, certain figures in the manuscript (dated holding a drum and a skull ト 0W1 at the dramatically framed by an encircling floral print scarf with aqua lining. Other left, and the black Takkiraja holding a 1674 ー 1681 ) of the Fifth Dalai Lama, drum at the right. Like Mahakala, each of clearly suggest a dating in the last quarter ornaments delicately and elegantly de- these figures has a glorious flame h 引 0 in of the 17th century. The figure of Tsong corate his black form. His hair standing on pastel shades flickering with vivacious but end and the features of his wrathful face Khapa is particularly close to the controlled rhythms. ln and around the even appear elegant and refined ( 112.1 ). rendering Of the same master in the Fifth spaces and clouds drift bits and pieces 0f Underfoot is his own emanatl()n in the Dalai Lama's manuscript (). Karmay, skeletons, fantast1C rocks, animals, birds, form of Ganesha, the white elephant- 1988 , fig. 8 , on p. (i). lt appears that the and other figures. At the top sits the lama black tangkas were a well-developed style headed lndian god. The top surface of the Tsong Khapa and his two main disciples lOtus pedestal has a hexagonal tortoise- by the period of the Fifth Dalai Lama. をイ 6 297 ・ Catalogue: Buddhist Orders

The Himalayan goddess Tseringma (Auspicious Lady of Long Life) and her four sisters represent the formidable spiritual power held in the towering peaks of that range. ln the eighth century, the Great Adept Padma Sambhava was said tO have tamed them tO the extent Of demonstrating for them the supremacy of the Buddha Dharma, its teaching of wisdom and love holding the spiritual key tO the evolutionary purpose 0f divine as well as human life. By the eleventh century, the great yogi Milarepa was confronted by them once again, as they put him tO the test Of his prmciples tO see whether he was motlvated by wisdom and altruism or by selfish ambition. When he finally responded to their aggressive attacks by offering his own bOdy as a sacrifice tO nourish them, they were persuaded 0f his authenticity 209 ( 94a ) Tseringma Central Regions, Tibet; or Eastern Tibet 17th century Tangka; gouache on COtton 27 防 x 19 % " ( 69.9x50.2 cm) Musée Guimet, Paris; Gift of Mr. Lionel Fournier (under condition Of usufruct) Lit. : Béguin, 1990 , no. 75 and renewed their pledge to protect the Dharma and its practitioners (all this is described in the H Ⅲ 7 市翻 0 〃覊〃 d Songs 0 ー M 〃孕 4 , Chang, 1977 , pp. 322 ー 23 and stories 28 , 29 , and 31 ). ln this beautiful black tangka, the powerful Tseringma appears holding a vaJra and the long-life vase and riding a blue-eyed lion with red and gold mane and tail. She sweeps across clouds and mountains, a halO with spokes like an umbrella framing her upper body. Above appear Padma Sambhava, Milarepa in the center, and a dancing Vajrayogini. Below are depicted her four sisters, each riding a different animal and holding their offerings to Milarepa. Clockwise from the lower left they are: Tingeya レ unma (Fair Lady of the Blue Face) riding a wild ass and offering a nmrror and a banner; 、 1iY() Longzunma 、 1 斌当 (lmmutable Fair Lady of Heaven) riding a tiger and offering a mongoose and a dish of food; Jeuben Drinzunma (Crowned Lady of Good Voice) riding a mule and offering a sack and a flaming jewel; and Degar Drozunma (Fair Lady of Virtue and Action) riding a dragon and holding a snake and a bundle of shrubs, possibly as the offering for lncreasing livestock. The style is delicate and the lines like threads of go 旧 impart an embroidered effect. The hazy tones, like a soft mist, add further mystery and a twilight evocativeness tO the pamting, a lovely example of this rarely portrayed subject. This tangka may have been part of a series (see Béguin, 1990 , nos. 76 ー 78 ) , to which the black tangka of Penden Lhamo in the Ford Collection is also stylistically related ( No. 215 ). Supplement ・ 454

128 EIeven-Faced, Eight-Armed Avalokiteshvara Khara Khoto , Central As ia Before 1227 Tangka; gouache on COtton 52X37 ″ ( 132X94 cm) The State Hermitage, Leningrad Lit. : Oldenburg, 1914 ; Béguin et 引 , 1977 , no. 25. This strong and vivid eleven-faced, eight- armed Avalokiteshvara sits in the diamond posture. His lOtus throne has tWO rows of petals, and a small rug hangs off the front Of the throne. A garment striped in blue, red, green, and gold covers his waist and thighs. His faces are arranged as a pyramid; there are three tiers with three faces each, and above them is a head with a terrific face. Crowning the whOle pyramid is the red-faced, ushnisha-topped head of Amitabha. This image of Avalo- kiteshvara derives, as IS well known, from chapter 24 of the Lotus Sutra. His two main hands are folded together in salutation, hOlding an almost invisible wish-fulfilling gem. His other right hands hold a rosary, make the boon-granting gesture, and hold a wheel of Dharma. His other left hands hold the stem of a white lOtus, a vase Of blessed water, and a bOW and arrow. The iconography 0f the marn deity as well as the form of the throne and the remalmng personages derive from lndian and Nepalese traditions. The Five Transcendent Buddhas in the top row seem very Tibetan in style. The dark green background With flO 、 iS Often seen in icons from Khara Kh0t0 (backgrounds may 引 so be blue or red, but the flowers dispersed on them are identical). TO the left and right behind AvaIokiteshvara are two astonished-looking monks making the discerning gesture; possibly they are 128.1 Ananda and Mahakashyapa ( 128.1 ). evocations ( 54d わ 4 〃 45 ) Of Avalokiteshvara sha, guardian of the west, holding a white Avalokiteshvara is surrounded by eight include Hayagnva and Tara ()e Mallman, snake. The deities on the bottom row deities. The upper four, arranged sym- share a single lotus throne. On the left sits 1975 , pp. 107 ー 10 ). Marichi may be the metrically with tWO on each side, are a red Hayagriva. Next tO him sits white compamon Of Tara. However, the Bodhisattva-like forms of the Four Sitatapattra with an umbrella in her hand, Heavenly Kings. To the upper left sits the composltion Of this icon and its pantheon which, despite the name of the goddess, is does not correspond to the one known white guardian Of the east, Dhrtarashtra, not white but tiger-striped. Next there is with a lute. Under him green Vaishravana, evocation. The four guardians Of the directions occupy places that dO not match lord of the north, is depicted holding a flag yellow Marichi with a white fly whisk. At the cardinal points in the composition Of in his hands. Across from him on the the bottom right sits Green Tara with a the mandala, SO the icon IS not arranged upper right is the guardian 0f the south, blue lotus. These four deities are clearly on the principle of a mandala. blue Virudhaka, holding a sword in his united in one group, but we are as yet K. Samosyuk hands ( 128.1 ). Below him is red Virupak- unable tO explain itS meamng; some 325 ・ CataIogue: Perfected Worlds

145 Amitayus Central Regions, Tibet; probably Tsang Second quarter 0f the 15 市 century Tangka ; gouache on COtton 54X45 ″ ( 137.2x 114.2 cm) Museum Of Fine ArtS, BOSton. Gift of John Goelet Amitayus is the Buddha of lnfinite Life, the counterpart Of Amitabha, WhO iS lnfinite Light. Together they embody the Wisdom-Compassion Unity, and they are synonymous with each Other. Amitayus, however, has special popularity and function as the Buddha for the attain- ment of long life. As one of the Five Transcendent Buddhas, Amitabha/ Amitayus transforms the affliction Of desire intO discriminatlng wisdom. ln most mandalas Of the Five Transcendent Buddhas he is in the west. He is red in color and his Buddha clan is the lotus, whose symbol is the red lotus of compassion. He holds his hands in the contemplation gesture and, as Amitayus, usually holds the vessel of the elixir of eternallife. The paradise of this Buddha is called Sukhavati, the Land of BIiss, also known as the Western Pure Land. This Buddha has been greatly cherished among Buddhist peoples throughout Asian history, especially in East ASia in modern tlmes. This monumental paintlng of Amitayus iS like a paradise and a mandala in one. A gentle yet magnificent red figure 0f Amitayus sits in splendor as the dominant center Of an intncate configuration Of images and shrines. He is flanked by his tWO main Bodhisattvas, Avalokiteshvara holding a lotus and Mahasthamaprapta (a form of Vajrapani) holding a vajra ( 145.1 ). At each of the four corners is a differently designed temple shrine containing a triad centering around Amitayus and reflecting ln smaller scale the main triad in the center. Together they make a five-part repetition Of Amitayus, covering the four quarters Of space and the center, which is the nadir and the zenith combined. Clouds encircle the shrines, which are attended by various figures. TO left and right on the upper levels are four seated Buddhas, with an assembly of five seated Bodhisattvas ()t the left) and five monks ()t the right). The two lowest Buddhas are identical, each seated on a lOtus with a long stalk and holding a bowl. The other two are the Medicine Buddha and Akshobhya. Midway in the painting are 355 ・ CataIogue: Perfected WorIds Green Tara and White Tara (left and right), then two more Buddhas of small size, seated and holding bowls. At the tWO ー0 、 corners are the Four Heavenly Kings and in the center at the bOttom is Amitayus flanked by two more seated Buddhas with bowls. ln the overhang of the main Buddha's throne cover are monks and an offering. The configuration very symmetrical, but vanatlons ln COlor and the usage 0f cloud, landscape, and architectural elements create a sense Of differentiation. The color scheme is quite dark, but lavish amounts Of go 旧 in delicate patterns brighten the work. Patterns 0f scroll or- 145.1 naments, textiles, and jewelry all provide surpassingly fine linear detail, creating a rich surface. This, as well as the complex arrangements Of the drapery on the maln figures, finds its parallels with the wall paintings 0f the Kumbum and with the sculptures of the Peljor Chöde, both at Gyantse, and dating around the second quarter of the 15th century. The closeness of the styles suggests to us a generally similar dating and regional attribution for this splendid painting. N0t only is it one 0f the largest and most magnificent tangkas Of this periOd outside Of Tibet, it is a rare, and probably the finest, Amitayus painting of this early date.

103 Lotus Mandala with Paramasukha-Chakrasamvara Tibeto-Chinese 17th century GiIt bronze CIosed: 9 防 x 5 " ( 24.2 x 12.7 cm) Open: 10 x 8 " ( 25.5 x 20.3 cm) The British Museum, London. Given by Miss Humphreys in memory of Edward Humphreys, Esq. Lit. : ZwaIf, 1985 , p. 215. 103.1 The mandala of the tantric archetype deity Shamvara, Paramasukha-Chakrasamvara (Supreme Bliss Wheel lntegration Buddha), is fashioned in the shape of a globular lotus. When opened, the eight petals of the lotus hold an array of twenty standing deities ( 103.1 and 103.3 ). Near the center the four fierce female Buddhas—Dakini, Lama, Khandarohi, and Rupini ー alternate with four pillar stands holding skull caldrons. ThiS is the arrangement Of the lnner part Of a Shamvara mandala, known as the great bliss circle. AlternativeIy, these four plus the central couple are the five deities of the abbreviated mandala. On each of the two back positions of each petal stands an offering goddess, holding offerings or playing musical instruments. Each figure stands on an individual cloud. ln the exact center Chakrasamvara and his consort Vajravarahi stand in sexual union on top Of a lOtus pedestal that rests on a curved platform simulating the lotus calyx but appearing like the shape of a cloud. When closed, the globe, looking like a pomegranate, emerges from three layers Of thick, leafy petals, the top layer of which has incised veins. ThiS upper section IS lifted up on an eight-sided pillar, which rises from a circular, triple-tiered base. Each side 0f this pillar is decorated with a Catalogue: Buddhist Orders ・ 280

This Arhat is probably Kalika, holding an earring (see NO. 16 ) , but it could be RahuIa, holding a crown. He sits on a flat-topped rock, his shoes in front of him on a smaller rock. An attendant lights incense in a large golden bowl, and Amitayus, Buddha of lnfinite Life, appears in the upper left corner. The main figures are placed in the near mid-ground of a rocky and forested landscape executed in the blue-green tradition typical of some Chinese painting. The scale of the main figure, his placement beneath a large, realistic, yet decoratlve tree, the refinement of the details, and the close V1ew of the rocky cliffs all bespeak the Ming style of the late 15th to early 16th century. Even though the overlapping planes of the cliffs suggest recession, the clear patterning and sharp line tend tO flatten out the effects—a characterlstlc not only of Ming painting, but 引 so of Tibetan paintings in the Ming style. Such devices t0 suggest space, the elegance 0f pro- portl()n, and refinements Of line are clearly more evolved than the style of the early-15th-century Arhat painting in No. 14. Tibetan Arhat paintings based on Chinese models 、 a 1 れ a ] or factor in the introduction and develop- ment Of landscape in Tibetan palntlng; even SO, the bastion Of landscape seems tO have remained the Eastern Tibetan schools, especially the Karma Gadri, with their closer proximity tO Chinese sources. This work clearly relates tO Other known paintings of Arhats in Ming style landscape (see Pal, 1984 , pls. 58 , 59 ). 167 ( 16b ) Arhat Kalika Eastern Tibet 16 th century Tangka; gouache on COtton 40X23 " ( 101.6X58.4cm ) Collection of Shelley and DonaId Rubin Supplement ・ 414

90 Eastern Tibetan Kagyu Lama, Shamarpa Eastern Tibet or China First half of the 17th century Tangka ; gouache on COtton 50 % X32 % ″ ( 128X82 cm) Musée Guimet, PariS The shape of the headdress is typical of the Karma Kagyu Order, and the red COlor indicates it is one of the Shamarpa Lamas, a lineage dating back to the first Shamarpa, Trakpa Sengey ( 1283 ー 1349 ). His hands are held in the teaching gesture, each holding the stem of a lotus. A red one floats at his right shoulder, supporting a sword, and a blue one floats at his left shoulder, holding a Transcendent Wisdom book, itself supporting a sacred bell of wisdom. He sits on a beautifully ornate throne, ln a contemplative's sitting bag ( ga 川 ) that hides his knees and feet. Before him is an offering table with a vase and a skull bowl, flanked by two other red-hatted lamas in the bottom corners. ln the upper left corner, the four-armed red Bodhisattva Shadakshari Avalokiteshvara sits in un10n with his white consort; this indicates the lama's role as a lineage hOlder of the Ocean of Victors (GyaIwa Gyatso) tantric form 0f this deity. ln the upper right corner, the two-armed red female protector Simhavaktra dances on one leg, indicating her guardianship of this lama's numstry. The landscape is subtle and spaclous, with a deep perspective. lt is clearly in- spired by the Chinese landscape tradition. The pastel coloring and the effects of shading seem lnspired by paintings on silk. The Ming emperors ( 13 68 ー 1644 ) had a close relationship with the Karmapas and Other lamas close tO them. Some Of the later emperors were lnstrumental in the development 0f the Kagyu orders. This painting most likely dates t0 the last decades of their reign in the first half of the 17th century. G. Béguin Catalogue: Buddhist Orders ・ 254

122 Manuscript Cover Central Regions, Tibet; probably Tsang 13th century Wood, with pigments Carved (outer) side with Thirty-five Buddhas of Confession Painted (inner) side with Prajnyaparamita L. 28 x W. 10 防 x D. 1 % ″ ( 71.8 X26.7X2.8 cm) The British Museum, London Lit. : Zwalf, 1985 , p. 137 ; PaI and Meech- Pekarik, 1988 , pp. 163 ー 64. 第第ア、“・ママ・・幸・アマ ' 第チ「や - 、を : こ : を ! 。を第 ( 第を一第 - を了をを、をゞをを , 、をもを「を工を This splendid manuscript cover, one of the best surviving examples in early Tibetan art, IS carved in relief on itS outer surface and brilliantly painted on its inner sur- 122.1 face. The outer, which is slightly convex, has a central rectangular panel containing utilized in a varied pattern Of alternatlon. diamond posture on a multitiered lion thirty-one of the group of Thirty-five The beautifully naturalistic pattern of throne. The animals on the sides and back Buddhas of Confession, a group especially the vines includes alternating flowers and Of the throne are similar to the ones on lmportant in the initial stages Of Tibetan animals in the interstlces. Around this Shakyamuni Buddha's throne on the other Buddhist practice. ln the center is central panel are a pearl border and a side, only in this case beauty ofline and Shakyamuni Buddha in the earth-witness double border of two styles of lotus petals. COlor replaces the three-dimensional gesture, seated on an lndian Pala-style ln the center of each side on the outermost quality of the relief carving. She is throne with a lion base (containrng a niche row Of petals are the four remaining attended by two standing Bodhisattvas, in the center, possibly for the insertion Of Buddhas of the set of thirty-five. The style one gold (holding a water vase on a lotus) an object), side panels with leogryphs of the Buddha figures and the soft natu- and one white (holding a white lotus), standing on elephants, and an arch ralism Of the vines and animals seem tO most likely Maitreya and Avalokiteshvara, composed Of 川 4 た ara sea monsters With relate t0 sculpture of ca. the 1 lth to the respectively. The solid red background is their filigree tails and a ga (the eagle 12 th centur y and to representatlons seen delightfully sprinkled with a simple of wisdom) at the apex ( 122.1 ). The some manuscript pamtings Of the same repetltlve pattern Of flowers , and ab ove the throne is supported by a lotus pedestal, period from lndia and Nepal. figures is a dark blue canopy decorated whose foliated branches curlleft and right, painted inner surface Sh()WS a with linear designs, and a festoon hanging forming the vine roundels of thirty seated central square panel with the four-armed from each end. Buddhas, who are positioned on the two goddess PraJnyaparam1ta, in a vivid orange l)rajnyaparamlta is the paradigmatic sides in three rows of five Buddhas each. color, holding a book and a vaJra and enlightened goddess in Buddhism. She is They are portrayed with five different hand the transcendent wisdom Of selflessness or making the teaching gesture with her tWO gestures: contemplation, boon-granting, freedom, the realization that liberates from main hands ( 122.2 , 122.3 ). She is simply teaching, discerning, and earth-witness, all suffering. She is praised as the Mother but richly adorned and is seated in the 0 Catalogue: Perfected Worlds ・ 314