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

attendant figures, though related to the willowy figures of the Tsang region, contains the essence Of the 14th-century abstract 12th- and 13th-century paintings of the centralregions ( fig. power, while drawing toward the naturalistic styles apparent 11 ) , incorporate a slightly Chinese-style fluid garment style. in the sculptures of the peljor Chöde at Gyantse from the This tangka probably relates most strongly to the central second quarter Of the 15th century. lt affords an instructive reglOns and may well indicate a schOOl associated with a contrast with the Yongle period ( 1403 ー 1425 ) sculptural style Nyingmapa monastery in the late 14th t0 early 15th century. as represented by the large gilt Virupa statue in the Cleveland Museum (Béguin et al, 1977 , p. 104 ). Sculpture Several excellent gilt Bodhisattva statues photographed at ln the central regions the sculpture of this time, like the Shalu monastery testify to the beautiful style of gilt Bodhi- painting, is characterized by a diversity 0f styles. The Padma sattva statues of this period in the Tsang region (Henss, 1981 , Sambhava and Amitayus sculptures at the Drigung monastery p. 141 , figs. 47 , 48 ) , the fig. 47 image probably dating in the (Liu, 1957 , figs. 59 , 60 ) are important remains oflarge- 14th century and the image in fig. 48 to the early 15th sized sculptures, possibly dating in the early part of the 14th century. Although they both reveal clear stylistic links t0 century. The figures, which are big and well proportioned, contemporary Nepalese sculpture, they have an intensity and reveal an assimilation Of Chinese drapery modes similar tO sharp clarity 0f line that is typically Tibetan. that seen in the tangkas of the same monastery ( fig. 15 ) and in Western Tibet during the 13th to early 15th centuries the Buddha paintings on the entrance wall of the Lotsawa produced some Of Tibet'S most lnteresting and distinctlve Lhakhang at AIchi, probably dating to the 14th century (Pal, sculptures, many 0f which portray the iconography of the Five 1982 , LL6). The delicately textured raised stucco borders on Transcendent Buddhas. These represent prob ably the mo st the robes Of the Amitayus statue are similar to those decor- concentrated examples in sculptural form Of the Five ating the hems of the ca. mid-14th-century Arhat in NO. 12. Transcendent Buddhas, which was a theme equally popular in Both examples of Arhat sculptures included in this book painting in the 12th- t0 early 13th-century tangkas 0f the (Nos. 15 , 16 ) are probably of Chinese origin. They reveal two central regions. Sculptures Nos. 13 8 , 139 , 140 , 142 , and 143 different stylistic types prevalent in the 14th century. The in the Cosmic Buddha section, together with the Newark Arhat Bhadra ( No. 15 ) shows the Khotanese-styIe drapery Museum Vajrasattva ( No. 131 ) , partially demonstrate a configuration with its distinctive close, parallel, SOft, and wavy fo 旧 s. This striking style was noted earlier in relation to the Khotanese-style sculptures of lwang and Nesar monasteries. lt was a popular style in the late 13th t0 early 14th century in China, the probable date for this beautiful small sculpture. The Arhat KaIika ( No. 16 ) , however, reveals the powerful chunky forms of Chinese sculpture appearing in the late 14th century, in the early years 0f the Ming dynasty. The period of the 13th to the early 15th century offers some Of the most remarkable Tibetan sculptures Of the Great Adepts (Mahasiddhas) and archetype deities 川 ). Such works as Nos. 38 , 55 , and 78 , as well as fig. 16 , all possess a powerful inner vitality radiating from the solid, rather abstract volumes characteristic 0f this time. The Ford Vajrapani ( NO. 55 ) , probably dating in the late 13th to early 14th century, lunges with greater force in lts smooth and bulging form than earlier sculptures such as the Zimmerman Shamvara in NO. 68 of ca. the late 12th to early 13th century. There is 引 so lncreased linear decorative lnterpretation Of the facial features in the Vajrapani. The strong outlining and somewhat masklike appearance of the face of the Padampa Sangyey ( NO. 3 8 ) from the mid-14th century appears as a further developed style in the Zimmerman MiIarepa statue ( No. 78 ) , which closely relates in its broad planes and selective linear style tO the figures in the Raktayamari mandala datable t0 the end 0f the 14th century ( No. 75 ). The sense of mass in the Milarepa statue is concordant with those developments in the late 14th century that culminate in the grand colossal sculptures Of the Kumbum at Gyantse of ca. the second quarter 0f the 15th century ( fig. 18 ). The Virupa statue in fig. 16 , probably dating late 14th t0 early 15th century, combines a strong masklike appearance ln the face and decorative touches in the depiction Of the hair with a heightened awareness 0f volume in the chunky, rounded, cubic bOdy. lt 引 SO reveals an lncreased naturalism in the mobile stretching of the large mouth and the wiry flexing of the arm muscles. This superb sculpture, probably from the Fig. 16. Ⅵ . Early 15th century. Brass, H. 10 防 " ( 26.6 (m). Private collection. (photo: Marylin M. Rhie) 53 ・ Tibetan Buddhist Art

172 ( 29a ) Shadakshari Avalokiteshvara Central Regions, Tibet 14th century Brass, with insets, copper fingernails, co 旧 gold paste, and pigments H. 26 防 " ( 67.3 cm) Courtesy of A. and J. Speelman, Ltd. , London 0 3 Though lacking its rosary and lotus, the characteristic pose of the Shadakshari (Six-SyIIable One; see pp. 144 ー 45 ) form of Avalokiteshvara clearly identifies this sculpture. lts rather large size is heightened by the proportionately large head, which gives the figure a sedate demeanor. The slim shaping of the torso and limbs imparts a slightly wistful, ethereal aspect tO the image, which is sparsely ornamented except for the crown with its upright leaf-shaped projections and floating ribbons. The delicate lines of the jewelry and incised lines on the dhoti only slightly reduce the dominance Of smooth planes, which is the maln feature Of this style. lt seems related tO 14th-century sculptures in the Tsang reglon, such as some at Shalu, and would appear to predate the bolder, heavier style of the 15th century as represented by the Gyantse Kumbum sculpture and such Western Tibetan sculptures as the Newark Vajrasattva ( No. 131 ). 419 ・ Supplement

order. AS Tibetan art IS studied more, these fascinating movements and assoclatlons Will undoubtedly become clearer. Sculpture With regard to sculpture, there is often difficulty in ascertaining the specific region Of its make, although it is becoming possible tO detect several specific stylistic groups. One group seems tO reflect elements Of the naturalism Of the early 15th-century Gyantse Kumbum sculpture and t0 stylize it slightly in angular or curved patterns that are flattened against the form, as displayed in the Western Tibetan sculpture in the White Temple at Tsaparang ( fig. 25 ). These sculptures, largely dating from the late 15th into the first half of the 16th century, also employ rich patterns of chased (engraved) designs, many 0f which appear in lama portrait sculptures (Nos. 62 , 86 , 8 8 ). Other notable examples are in the British Museum and the Essen collection in Hamburg. 18 These works are probably mostly from the central regions, but the Hermitage lama in NO. 8 8 is probably from Eastern Tibet. The Vajradhara and Vajravarahi sculptures in the Newark Museum (Nos. 147 , 113 ) also relate to late 15th- to 16th- century styles and are probably from the central regions. Both reflect some relation t0 Nepalese sculptural styles. Nevertheless, the former has elements of the elongated, ethereal styles of Western Tibetan sculpture of the late 15th century as well as elements 0f drapery style descended from the Yongle sculptures ( No. 30 ). The stiff turning of the scarves is a style seen in the small figures in the Shamvara tangka 0f the late 15th to early 16th century ( No. 70 ). The latter has a particularly sensltive facial expression, which seems tO relate tO the style appearing in the Zimmerman collection tangka in No. 50 of the late 16th century. Correspondences between pamting and sculpture in this period are a major and particularly helpful factor in determining the date and stylistic rewon Of independent sculptures. ln fact, it may be possible with further study t0 link certain groups Of sculptures and tangkas together as belonging tO the same monastery or local regional artistic school. The rare Nairatmya sculpture in the Los Angeles County Museum ( NO. 74 ) , for example, seems stylistically closely related to some secondary figures in the Sakyapa Gayadhara tangka dating ca. the third quarter of the 16th century ( No. 64 ). This could indicate a similar date, reglon, and artistic schOOl for the tWO works. Many lama portrait sculptures from this period 0ffer a fascinatlng study in themselves. Among the numerous variant styles, two examples in this b00k readily reveal two clearly different types from around the middle part of the 16th century. The Zimmerman collection Sakya Lama Sonam Lhundrub ( No. 63 ) is executed in a gorgeous, traditional style of the central regions (probably Tsang), with tight-fitting robes displaying some of the fluid grace 0f line descended from the Gyantse Kumbum sculptural tradition. On the other hand, the Karma Dudzi image in the Los Angeles County Museum ( No. 89 ) , probably from Eastern Tibet and dating later in the 16th century, is alSO related tO some styles Of the Gyantse Kumbum sculpture, but nevertheless reveals a more forceful naturalism in its heavy robes, which are full of tension and mass. Though bOth Of these sculptures possess a sturdy form, the latter's naturalism pr0Jects an added power and immediacy through the stunning layers of thick, folded robes and the forcefully individualistic charactenzatlon. 61 ・ Tibetan Buddhist Art The stage is now set for a synthesis 0f the fully assimilated schematlc traditions Of the Older lndo-Nepalese traditions with the powerful naturalism that was developing ln spurts during the 15th and 16th century in the central regions and from the Chinese-reIated Eastern Tibetan schools. lt is in the 17th century that thiS synthesis comes tO fruition and producing a major new, uniquely Tibetan style that flowers t0 the pre sent day. THE 17TH CENTURY The 17th century was a climactic period historically and artlstically in Tibet. The locus Of power in the central regions of U and Tsang at the beginning of the century was roughly divided between the Karm 叩 a in Tsang and the Gelukpa in U. With the rise of the Fifth DaIai Lama ( 1617 ー 1682 ) , backed by Gushri Khan of the Qoshot Mongols, power became consolidated in 1642 in the hands of the "Great Fifth. ” From this time the Dalai Lamas became the politicalleaders 0f Tibet as well as being the head of the Geluk Order, which spread t0 all parts 0f Tibet under the Fifth Dalai Lama and subsequently became the most powerful religious order in Tibet. ln 1645 the Fifth DaIai Lama began the construction of the Potala palace in Lhasa, ra1Sing it on the remains Of the palace of Songtsen Gambo, Tibet's first great Religious King, on Marpori, the Red Mountain, overlooking Lhasa ( fig. 26 ). ThiS a 、 vesome edifice, with its towering tapered walls, thousand windows, and monumental zigzag staircases, IS one Of the grandest and most powerful architectural structures ln the world. The residence of the DaIai Lamas and the NamgyaI monastery and universlty until the 1950S , it remams tOday an unparalleled reminder of the Tibetan religion embedded within the secular, material world. Painting ⅲ the Central Regions Of Tibet Several datable tangkas indicate the course Of developments ln pamting for this periOd in the central regions: the Ford collection Penden Lhamo, dated before 1642 ( No. 115 ) , the Newark Museum's Ngor Sakya Sonam Gyatso, probably dating ca. 1667 (ReynoIds et al, 1986 , Ⅱ , pp. 154 ー 55 ) , and the Los Angeles County Museum's Kunga Tashi, dating ca ・ 1675 ( No. 65 ). The Ford Penden Lhamo is unquestionably one of the most significant works tO appear in recent years. NOt on is it a maJ0r P1ece 0f evidence for tracing the genre 0f the "black tangka," which appears to have come t0 full flower by the second half of the 17th century, but it is also an example of a prmcipal new directlon in paintmg, which stresses boldly powerful naturalistic figures portrayed with a masterful, thick, even line. The firm line and energetic force Of this new style can also be observed in the Ellsworth collection Vajrapam ( No. 5 8 ) , probably from the first half of the 17th century, and in the Zimmerman collection Yamantaka of the late 17th century ( No. 105 ) , the latter which possesses a roarmg, dynamic power created by solid masses movement and by a thick, masterful line. The style of these tangkas may be associated with the emer- gence 0f the "New Menri" style, which is said t0 have been initiated by Chöying Gyatso (active 1620 ー 1665 ) , who worked for the first Panchen Lama and later became the painter for the Fifth Dalai Lama in Lhasa, where this style flourished. The style generally associated with the fully developed New N'1enri

rosette in relief, and there iS a spectacular pr0Jecting rim composed 0f eight leafy lotus pedestals linked together. These pedestals each hold a small sculpture, either Of the ausprcious symbOl Of the vase (with the Three Jewels on top) or of the pair of fish. An ingenious mternal mechanism allows the globe t0 open when the pillar-stem is moved upward by moving this pr0Jectlng rlm. The theme of the seven treasures Of the umversal monarch appears ln lncised drawings on the bulging middle of the globe. lncluding a representation of the monarch ()r possibly the minister in this case), these symbols (moving clockwise from the king or minister) are the faithful queen, the wish-granting jewel, the wheel Of universal soverelgnty, a vase (not usually included, but it is perhaps either a substitute for the min1Ster or simply a filling for the eighth petal), the general, the horse, and the elephant ( the latter two each with a flaming jewel on its back). Each figure appears on a cloud and has a pair Of flO 、 ver rosettes above, positioned like the sun and the moon. Another set Of lncised linear symbols appears near the peak of the closed globe. Moving clockwise from the same petal containing the monarch ()r minister), they are the nurror on a lOtus, a canopy, a ViCtory banner, a bowl holding the sun and moon emblems, another canopy, a tied ribbon, a vase holding a jewel, and a canopy raised over a building ( 103.2 ). These seem to be mixtures Of various ausp ICIOLIS symbols and dO not follow a standardized verslon. This work is a handsome example, probably of Chinese make, of this specialized form 0f mandala. lt is a type 、 known from earlier times in lndian sculpture, particularly 0f the Pala dynasty (ca. mid-8th to late 12th century). lt has a grandeur and heaviness that suggest a date possibly in the late Ming dynasty. The sculptured figures have power and a quality Of dramatic movement that may be equated with sculptures 0f the 17th century. The jewel decor is rather stiff and simple, but prominent and well fashioned, much like some images from 17th century. The line drawings, in their freedom, simplicity, and naturalism, seem similar tO figures appearmg ln some 17th-century tangkas. 00 103.2 103.3 281 ・ Catalogue: Buddhist Orders

0 ー「「 , れ朝石朝前ⅱ i いツ対、朝第一いををツ ! 、、蒻、、、疆の 0 ・ , ' 、 , ) 163 (2c) Shakyamuni Buddha Central Regions, Tibet; probably Tsang First half of the 14 [ h century Brass with copper inlay H. 15 ” ( 38.1 cm) Doris Wiener Gallery and Nancy Wiener Gallery, New York 162 (2b) Shakyamuni Buddha Central Regions, Tibet EarIy 13th century Copper alloy, silver and copper inlay, and pigments H. 21 % " ( 54.9 cm) Private Collection, London ln comparison with Nos. 161 and 2 , thiS sculpture possesses less Vlgorous form and line but has a gentle, relaxed naturalism and elegant attenuation Of the torso and long face. This style reflects S01 れ e tendencies Of naturalism seen some ・ tangkas, probably 0f the Tsang regions, 0f ca. late 12th t0 early 13th century, such as the one in text fig. 12. The limited use of inlay (copper lips and fingernails; silver nipple and eyes) is a foretaste Of the development Of more This sculpture of Shakyamuni Buddha lavish embellishment in the sculpture of in the earth- 、 vitness gesture iS a the central regions in the 14th century ( No. 163 ). Border folds, less wiry than example of the image style of Shalu in No. 2 , are subdued and flat, imparting monastery art in Tsang Of ca. first half 0 司 y a restrained energy to the figure; of the 14th century. Copper inlay in the they are 引 so different from the stronger, borders of the robe and for the Buddha's pearl-lined borders of some 14th-century fingernails adds a richer coloration and sculptures. The SIO 、 measured curves design component, as do the double and Of eyebrows, eyes, and mouth reflect the triple rows of pearls, compared with the refinement of the well-known Pala forms earlier Buddha sculptures in Nos. 161 , and alSO Of earlier Tibetan expressions of 2 , and 162. The sharp, slightly angular the PaIa idiom, as seen in No. 161. appearance 0f the facial features and the tensely held body reveal a more conscious tightening Of form and decorative flair than in the relative naturalism of the early-13th-century Buddha in No. 162. Supplement ・ 410

76 Raktayamari Father-M0ther China; Tibeto-Chinese Dated by inscription YongIe period ( 1403 ー 1425 ) Copper and gold (about 40 percent); cast in several parts, with pigments; sealed with reliCS still inside the pedestal H. 6 % ″ ( 172 cm) The State Hermitage, Leningrad. Prince Ukhtomsky CoIIection. Later given KozIov Collection number Lit. : H. Karmay, 1975 , pp. 72 ー 103. を ) Rakta (red) Yamari (enemy of Yama) is one of the forms of the Conqueror of the Lord of Death, Yamantaka, a terrific archetype Buddha form of Manjushri, the Bodhisattva of Wisdom. He embraces Vajravetali (Diamond Zombie), his wisdom consort, with his left arm, his hand holding a skull bowl. With his right hand he brandishes a rod of punishment. VaJravetali holds a vajra chopper in her right hand and a skull bowl in her left hand. Both the deities trample on a crowned figure (the Hindu god of death, Yama) who lies on a buffalo holding a lasso in his left hand, and a short club ⑦ in his right. Besides the inscrlptlon, the sculpture possesses inevitable marks Of the Ming style: a peculiar type of earring and other decorations Of the deities; tWO strings Of pearls surrounding the pedestal; a specific Ming form for the lotus petals and their number (there are an even number Of petals on the pedestals of Ming sculptures, unlike those of Qing bronzes). There are seven sculptures with the Yongle date inscribed on their pedestals in the Hermitage collection, and this gold image Of Raktayamar1 IS certainly one Of the best in the whOle collection. But it is not on the precious material Of the sculpture that matters (although it must be noted that golden images are not very common in Tibetan art ln general or lconography or in style in this icon. lt is among Ming images in particular). A very enough tO compare Raktayamari with high level of craftsmanship is shown 1n another Ming sculpture from the this image. lt is rather high even in Hermitage collection—that of Manjushri comparison with the generally recognized ( No. 30 ) —to be convinced that the artist gracefulness 0f Ming images. Here the Of the Raktayamar1 uses the stereotypes master demonstrates almost a jeweler's skill in rendering the finest details of the usual for Ming images. lt is the master's deities' decoratlons and garments. skill that puts this sculpture far beyond ordinary Ming bronzes. At the same time there are not any special new lnventlons either in G. Leonov 233 ・ CataIogue: Buddhist Orders

VIII. Kagyu Order General discussrons of the order are on pages 165 and 236. 202 ( 78a ) Milarepa Western Tibet Second quarter of the 15th century Brass, with silver and copper inlay H. 11 " ( 27.9 cm) Courtesy of A. and J. Speelman, Ltd. , London With right hand to his ear,left hand holding the caked shell of boiled thistles, and lips parted as though singing his poetic Dharma songs, this Milarepa statue presents one Of the most compel- ling and powerful Tibetan images of the beloved yogi, one of the Tibetan progen- itors of the Kagyu Order. The full body, the massive limbs, and the swelling volumes Of the torso portray an im- pressive figure stylistically very close to the Newark Museum's Drukpa Lama ( No. 85 ) , which is probably from Western Tibet (Ladakh). The similarity 引 so extends to the flat, heavy cloth of the robes, the effective usage of bands of copper and silver inlay, and the rather bold floral pattern chasing. lnteresting details, such as the layered hair with its series Of curled ends, the irregular creases on the right leg, and the expresswe wide eyes and silver teeth, all contribute tO the charismatic force Of this sculpture. With its powerful mass, monumental design, and sophisticated usage 0f pattern and line relatively similar tO the Gyantse Kumbum sculptures of ca. 0 : clearly demonstrate a highly original Tibet, this sculpture, along with No. 85 , or a little later. If indeed from Western approximately the same general period this image can probably be dated to the second quarter Of the 15th century, 10Ca1 style Of superb creatlve artistry from that reg10n Just prior to the great sculptures of the Red Temple at Tsaparang of ca. second half of the 15th century. For Milarepa in general, see Nos. 78 ー 83. Supplement ・ 448

126 Ushnishasitatapattra Tibeto-Chinese Mid-18th century Embossed brass, partly gilded; assembled from several parts (hands cast separately), with chasing and pigments, with turquorse, coral, and smalt inlay H. 40 ″ ( 102 cm) The State Hermitage, Leningrad ・ Prince Ukhtomsky Collection Thousand-Armed Ushnishasitatapattra is a special form of the goddess Tara, a female counterpart Of the thousand-armed form Of Avalokiteshvara. Her iconography is probably one of the most complex in the Tibetan Buddhist pantheon. The goddess has as many heads and legs as she has arms. She tramples on human beings, birds, and animals. Pressed under her feet intO tWO cubes in this sculpture, they symbolize egocentric existence. She hOlds a victory banner in front Of her chest in her two main hands, although, according t0 the iconographic canon, her main attribute iS an umbrella. This sculpture has evidently been made by a very skillful and experienced master. He managed tO execute each one Of Ushnishasitatapattra's thousand arms by arranging them as a kind 0f six-tiered halo surrounding the goddess. The thousand heads and legs are rendered conventionally, though over two hundred of the heads are individually portrayed. Sculptures Of Ushnishasitatapattra, es- pecially those Of large size, are very rare Western collections. The difficulty of execu- ting such a complex iconography in sculpture may be one reason for the relative scarcity Of this icon sculptural form. G. Leonov 321 ・ Catalogue: Perfected Worlds

144 Amitayus Samples Of the consecrated reliCS from within the image are included Nepalese, with elements of Western Tibetan stylistic tra dition Second half of the 14d1 century Gilt brass, with chasing, cold gold paste, and pigments H. 11 ″ ( 28 cm) The State Hermitage, Leningrad. Prince Ukhtomsky CoIIection Amitayus, the Buddha of lnfinite Life, is represented here in his traditional iconography. He sits in the diamond posture, with both hands flat in the contemplation gesture, holding a vase Of elixir Of immortality with a stylized 、 'tree of life" on top of it. A textile decorated with an eight-petaled rosette hangs down over the rectangular pedestal from under the lOtus seat. There are two peacocks in the niches flanking the overhanging textile. lt is difficult to establish the exact provenance Of this image, but it can be called a NepaIese sculpture with elements of the Western Tibetan stylistic tradition. The lower part of the sculpture, with the combination Of an oval lOtus seat with large, flat petals and a rectangular pedestal, is without doubt of Nepalese ongin. Some Other details, such as the earrings and the three-petaled pendant of the necklace, can alSO be connected with the Nepalese tradition. At the same tlme, the Western Tibetan influence reveals itself in the high, flat knot of hair, in the type of crown, in the design Of the armbands, and lastly in the masslveness Of the figure. The presence of two peacocks on the pedestal of the sculpture is rather interesting. The peacock is the vehicle 0f Amitabha, and the very presence of this bird in the sculpture may signal an early stage in the development of the cult 0f Amitabha/Amitayus. lt may be that Amitayus was not yet considered a separate deity at this time, but was interpreted as a personification Of one Of the qualities of the Buddha of lnfinite Light mentioned in his sutras, namely his eternallife. Later an independent cult of Amitayus emerged. At the same time, the presence Of peacocks is not lncompatible with the nature Of Amitayus either— in lndian mythology this bird is considered lmmortal, as it is not affected by snake venom. The sculpture is also interesting from another point of view. The copper plate 351 ・ Catalogue: Perfected Worlds イを一、診 ~ 4 because the practice Of reconsecratlon Of covering the bottom had been damaged lmages commonly occurred in Tibetan before it was acquired by the Hermitage, Buddhism. and the relics with which the image There are about fifteen hundred bronzes had been consecrated were falling out of in the Hermitage collection. Over three it. ln order tO prevent their dispersion, the hundred of them have been conserved plate was removed and the relics were unopened up tO the present. Besides these, taken out. A sizable collection Of relics there are over tWO hundred full sets Of was hidden inside the tWO lnner cavlties Of the sculpture. Among them there were relics from the same number Of sculptures sixty small packages of paper containing in the Hermitage collection. Each one Of Tibetan lnscnptl()ns and reliCS inside. them has itS own lnventory number, According tO these inscriptions, the correlated tO the sculpture from which it packages preserved reIiCS Of many persons has been removed. These tWO hundred sets prominent in the history Of Tibetan were taken out Of the sculptures for Buddhism. Among the names mentioned in unknown reasons in the 1920S , when the the inscriptions are Atisha, Marpa, the Ukhtomsky collection was in the Russian highest hierarchs of both Shamarpa and Museum in Leningrad. The presence of Karmapa lineages, and Other persons. lt is these tWO hundred sets Of relics in the evident that some Of the items found inside Hermitage collection IS very lmportant, the sculpture can be dated tO an earlier because it permits the study Of relics period than the image itself. Still, this does without openlng sealed images, except not contradict the date Of the sculpture several damaged bronzes like the above-